After watching this film for only a few minutes I wondered to myself if it was going to stand as a rare stinker from the Japan Foundation Film Tour. Soon after I wondered how on earth was I going to classify it and explain why it didn’t work. Fortunately it got better and eventually began to work for me. By the end I was enjoying it, even if I failed to spot actors I should have recognised. This is actually a mainstream family comedy which is structurally quite familiar in the UK, though its comic targets are mainly recognisable as Japanese, including the whole institution of ‘death’.
The central characters are the Nobata family. Father is a research chemist who has established a successful company but in the process has alienated his daughter Nanase and lost his wife to a mysterious disease. A series of flashbacks establish an unconventional family life with pressure put on Namase to become a research scientist like her father. She, of course, will rebel – in this case by refusing to join the family firm when she leaves university and attempting instead to become a music star, fronting a ‘death metal’ band. Meanwhile, the Nobata family pharma company is being eyed up by a large corporate rival, Watson Pharma, who have placed a mole in Nobata’s senior management. A plot is hatched involving a new drug that will render Nobata Kei (the father) temporarily dead for just two days during which time Watson’s CEO has a plan to take control of Nobata.
Nobata Kei (Tsutsumi Shin’ichi), worried about his daughter, has assigned a young man to follow her and report back. This character, known mainly by his nickname ‘Ghost’ because he is able to fade into any background and render himself virtually invisible will be key to development of the plot. He will be able to foil the plot with help from Nanase and finally another overlooked employee also known mainly by his nickname ‘Gramps’. Nobata Pharma’s money-making drug is an anti-ageing concoction known as ‘Romeo’ and the new drug which induces temporary death is given the name ‘Juliet’. The ‘temporary death’ plotline offers a range of gags some of which involve Kore-reda Hirokazu favourite Lily Franky who plays the ‘Sanzu River boatman’ – the Buddhist Japanese figure who ferries the dead to the equivalent of Hades. Nanase is played by Hirose Suzu who I should have recognised from the Kore-eda films Our Little Sister and The Third Murder.
Not Quite Dead Yet is written by Sawamoto Yoshimitsu and directed by Hamasaki Shinji, as his debut feature after a successful career in advertising films in which he won several awards. Shot in ‘Scope, like all the other features in my Japan Foundation selection, by Kondoh Tetsuya the film looks good. I think my early concerns were that the scenes may not fit together. Early flashback scenes attempt to show the pressure on Nanase coming from her father’s determination to get her interested in science. These vignettes are clever, perhaps too clever next to the ‘death metal’ music scenes featuring Nanase in the present – in performance and with her fans. The music is credited to Hyadain. I don’t know anything about the composer or about ‘death metal’ but I had some expectations and the relatively tuneful mainstream rock music that was presented didn’t seem to fit at all. I think the film began to make sense as a recognisable comic form with the introduction of the ‘Ghost’ (Yoshizawa Ryô). This actor seems very experienced with 65 credits aged just 26. His appearance and the growing realisation that he and Nanase will together fight for her father and the company presents a familiar universal comedy form – the beautiful and privileged young woman and the physically slight and bumbling young man, who is actually very bright – as is she – facing a more powerful enemy. I can think of countless examples of similar plotlines from around the world.
I’ve seen some sneery reviews about poor SFX in the film but I liked these, with the ‘temporarily dead’ father as ghost figure materialising and trying to communicate and mother seemingly trapped in a glass case in the family shrine. The film is much shorter than the others in the Foundation Tour at around 90 minutes and rattles along nicely as the best comedies do. It’s good to have a change of mood and in the end I enjoyed the chases and the finale in what turned out to be a well-written comedy with good performances. Perhaps a little more romcom might have topped it off?
Hong Kong cinema has not been very visible for me during lockdown so I was delighted to discover ‘Focus Hong Kong’ – part of the Chinese Visual Festival in the UK offering five features with some extras and a series of short films at the bargain price of £8.99 or £2.99 for a single feature. The festival started last night and films are available to stream until 15th February.
I started with this title which promised genre pleasures in the form of an absurdist crime fiction film, a mash-up of gangster film, police investigation, melodrama and romance all laced with violence and humour. My immediate point of reference seemed to be Johnnie To, the legendary director of crime films with a twist, something prompted by the presence of Louis Koo as one of the two leads, Sean Wong, a cool and ruthless gang leader. He’s up against Louis Cheung as ‘Larry Lam’, a police detective down on his luck. The film begins with the introduction of these two central characters. Wong is fleeing from a killing where the only witness appears to be a parrot and Lam is trying to avoid a loan shark from whom he has borrowed money to set up a cat sanctuary. But just in case this might suggest a whimsical tale, writer director Fung Chi-Keung soon flashes back to a jewellery robbery in which, because of police informants, the cops arrive en masse and the robbery turns violent as Wong and his gang escape with the loot. The murder suggests that the loot has gone missing and Wong is looking for it.
The police investigation is led by hard-faced Inspector Yip and Lam is joined by Charmaine a young female officer who we learn only joined the force because she was inspired by Lam’s bravery on a case a few years ago. Wong has gone into hiding and become the tenant of a landlady named Joy whose other guests are a trio of elderly folk. Lam decides that the parrot knows who the killer is, but it seems to discount Wong. It’s a clever script which I don’t intend to spoil any further. I’ll only point out that with crooks, loot, crime victims, police and informers – and a brief appearance of ‘internal affairs’ – there is every possibility of double-crossing and misrecognitions.
The parrot doesn’t appear that often but its role is important. In the Q&A the director explains that he was inspired by his own experience of living with a parrot when he was a schoolboy and the parrot inadvertently (or not!) got him into trouble. The cats don’t contribute anything that I remember and that’s a shame. Overall, however, the excitement of the shootouts and the humour of the situations work very well. There is a hint of romance and some beautiful aerial shots of the city (it’s a Scope picture). I thought the characters were well drawn within the confines of the genre and the performances were all good. If you are a Louis Koo fan you’ll certainly enjoy his performance. I’m not sure it adds up to anything more than a genre exercise but I found it very enjoyable and just the thing for a lockdown pick-me-up. I’ll certainly look out for more films by Fung Chi-Keung.
There is a lot to like about any film shot in ‘Scope and lasting only 81 minutes, the perfect length for a comedy. This particular comedy is indeed a good watch but with an unusual ‘feel’ and tone. ‘Felicità’ is actually an Italian pop song played on the car radio as this family trio, ‘Tommy’ and her parents, drive along. The song title simply means ‘happiness’ and that might be the quest for this narrative. When the film begins we first see Tommy (who is possibly 11) in an odd composition within the Scope frame. She is reflected in the mirror of a washroom, caught with just her head in shot in the bottom right corner of the mirror. The only other object in the frame is a hand dryer which she will eventually use and we follow her out, back into a beachfront café. When she sits down opposite Tim and Chloe, she grabs her set of large headphones and when she has them on the soundtrack goes dead. We might get the sense that she is alienated. When she takes them off after a minute or so, Tim hesitatingly begins to tell her a story that suggests she is actually adopted as her real parents left her in Tim and Chloe’s flat when she was a baby. But now Tim has seen her father again and he has become the rapper Orelsan, a wealthy man. Tim says that Tommy has a choice she can go to Orelsan or stay with Tim and Chloe. Tommy is unfazed and finally replies “hilarious”. Tim sighs and complains that she used to believe his stories. This opening sets up the narrative quite effectively.
I don’t want to spoil all the gags and comedy situations so I won’t outline the whole plot. I’ll just point out that the family are in Brittany. Only a day is left in the summer holidays and then Tommy is due to start school again. The chaotic life of her parents means that she has rarely arrived at school on the first day of term. Her parents are determined that this year she will so the narrative has a clear target. Will Tommy be there on time? The action is set on the Côtes d’Armor, the Channel coast of Northern Brittany. Tim and Chloe have a bolthole on a boat moored in a local harbour and a car, but that seems to be it. Both parents, but more Tim, have things in their past that they haven’t fully explained to Tommy. Since telling stories is part of the family’s modus operandi we, the audience, can’t be sure about their pasts either. In just under 24 hours the trio will have various adventures and Tommy will be tested as to whether she can survive with these odd parental models. At various points, Orelsan makes appearances, dressed in a spacesuit, and on one occasion giving Tommy advice. Tim shows her the Tod Browning film Freaks (US 1932) on a portable TV set with video recorder. It’s that kind of French film and all the better for it, I think.
Tommy is played by director Bruno Merle’s daughter Rita. She’s a remarkable young actor and a joy to watch. Pio Marmaï and Camilla Rutherford are an attractive couple and very good as Tommy’s parents. Orelsan plays himself. Brittany looks good in the images created by cinematographer Romain Carcanade and I like the selection of songs on the soundtrack. Only in French cinema would the film end with a Gene Vincent song from 1961 – terrific.
I’m not much of a fan of comedies these days. They have to be intelligent and heartfelt. This one is. Bruno Merle writes several films which appear to target children as the audience. He directs only sporadically and here seems to be working with a limited budget (his own house, his father’s boat?) but the results are good to watch. This is a film with a child at its centre but it seems to be designed for an adult audience. I hope children enjoy as well. There are a couple of dark moments but Rita/Tommy defuses them quietly for me. I enjoyed the film more than I thought I would. It’s currently streaming as part of My French Film Festival online.
Now streaming on MUBI, this Roy Andersson film appeared at Venice in 2019 and has been joined on the international arthouse circuit by a documentary about Andersson’s work, Being a Human Person (UK-Sweden 2020) by Fred Scott. I’d like to see the documentary. It is suggested that Roy Andersson is unlikely to make another feature and this, possibly last, film certainly feels like a distillation of his ideas, emotions and aesthetics. It’s a shortish feature, just under 80 minutes and I think that it will take me at least a couple of later viewings to appreciate it properly.
The structure and the distinctive style of the last three Andersson films Songs from the Second Floor (2000) You, the Living (2007) and A Pigeon Sat on a Branch Reflecting on Existence (2014) is continued in the new film with no plot as such but a series of vignettes, shot with a static camera and often great depth of field, usually on meticulously painted sets featuring a very subdued colour palette and white-faced actors, mostly selected to represent ‘ordinary people’. The two different scenes that stand out are one of a couple moving through the sky over a bombed city (Cologne) like Lois Lane and Superman and the other a shot in which what seems like an entire defeated army is marching through the snow to Siberia. I assumed that Andersson couldn’t afford thousands of extras but I couldn’t see the join as the faceless soldiers presumably walked past the camera more than once. There is at least one mini narrative threaded through the series in which we follow a despairing priest who has lost his faith and there is one sequence which melds into another – i.e a character walks out of one scene and ends up in another. Unlike in the previous film, I don’t think there is a key scene which in some way provides a focus for the others (e.g. as the Breughel painting does in the Pigeon film).
Andersson has been seen as influenced by painters rather than filmmakers. His scenes, usually in a tableau arrangement, dispense with cuts, close-ups and camera movement – those cinematic devices that lead us to make connections by controlling our gaze. But he can still use the movement of figures within the frame and music, dialogue and effects. And we can let our gaze run freely round the scene to find details not apparent at first glance. One important point to note is that this film is shorter than the others at under 80 minutes. It also appeared only five years after Pigeon, rather than the seven year gaps between the earlier films. Perhaps Andersson was more concerned to get the film out while he was still able. This is mentioned in the documentary film cited above. My own feeling is that About Endlessness is if anything even more bleak than the earlier films but this then throws into greater relief the two moments most associated with love and joy and the human spirit. One of these is a musical interlude outside a café. The other I found quietly devastating. A man and a little girl are standing with umbrellas during a heavy downpour. They are out in the open, crossing a large playing field and we understand that they are going to a party. The man bends down to tie the little girl’s shoelaces and as he does so his umbrella is blown away. He has to chase and retrieve it through the mud and puddles. He does so and returns to tie the laces on the other shoe. In one sense, it is a nothing scene, but it’s also a reference to ‘silent’ comedy and in the context of the other scenes it seems like a blast of pure humanity. I’ve just watched this scene again (the benefits of streaming) and I realise I’d forgotten that there is a disembodied female voice telling us that this is father and daughter on their way to a partner. I’m not sure yet what this commentary (which runs across several scenes) adds to or changes the way the film works differently to the earlier films.
Without a central narrative, it is difficult to remember all the scenes or the order in which they appear (if this is important) but it also means that the viewer can return to the film and find something which feels new each time. These 21st century Andersson films are unique in their style and tone. Yet sometimes a scene reminds me of another film or in one scene here, a Swedish novel I was reading just before I watched the film. I’ve mentioned the benefits of re-watching scenes when the film is available on a subscription streaming service, but I’d still like to watch this film on a big screen in a cinema. If you haven’t seen any of Andersson’s work, I’m not sure if this is the best one to start with, but I urge you to watch at least one. I think you’ll then want to see the rest.
Powerhouse/Indicator’s 4 film box-set of ‘Ford at Columbia’ includes this fascinating and rather good title alongside three more from the 1950s, The Long Gray Line (1955), The Last Hurrah (1956) and Gideon’s Day (1957). This post is based on a viewing of a rented Blu-ray from the box-set. Because I haven’t got the whole box-set I haven’t seen the printed booklets that accompany each film, but the Blu-ray carries several useful extras.
The general consensus is that this film is somehow outside John Ford’s usual territory. Sheldon Hall’s presentation on the film entitled ‘A Trip Outside Ford Country’ is included on the disc. It’s true that if we consider Ford’s peak period to be between 1935 and the early 1960s, then this film is certainly ‘outside’. Most of Ford’s films in this peak period are rural, historical, set in small and often military communities. The most common genre is the Western. The Whole Town’s Talking is, by contrast, urban and contemporary and generically it refers to crime/gangster films and comedy, specifically screwball comedy. There are very few of Ford’s familiar actors or crew from the later period and the two stars are Edward G. Robinson and Jean Arthur. Edward G. Robinson hadn’t appeared for Ford before and wouldn’t do so again until close to the end of Ford’s career in 1964’s Cheyenne Autumn. However, Jean Arthur had worked with Ford on two films in the early 1920s, Cameo Kirby in 1923 and The Iron Horse in 1924, in minor roles at the start of her career. By 1935 she had finally established herself as a lead at Columbia. Ford was in 1935 coming off a long period of working mainly for just two studios, Universal in the 1910s and early 1920s and Fox in the later 1920s and early 1930s. Although he had already made dozens of films over a period of 20 years, he didn’t yet have the kind of prestige he would later gain (he won his first Oscar for his next picture, The Informer) and so this one-off at Columbia was likely to see him treated as an honoured guest director, but still one who would have to work within the studio’s usual structures. The point about the earlier work is, however, that Ford had made most kinds of films by this stage and there was no reason to suppose he wouldn’t make a good job of this one. Also during the early 1930s, Ford had worked with the cinematographer Joseph August, so he knew one part of the production was locked down (August and Ford worked together four more times after this film.) The story had been written by W. R. Burnett, famous as the writer of Little Caesar (1931), often quoted as the first ‘gangster’ picture and an early starring role for Edward G. Robinson. Later Burnett would write High Sierra (1941), the film that finally clinched Humphrey Bogart’s leading man status. Columbia must have been confident that Burnett’s story (with a screenplay by the staff writers Robert Riskin and Jo Swerling) would make a profitable picture and therefore brought in not only Ford but also Edward G. who was a contracted player at Warner Bros. Jean Arthur was by now a contract lead player at Columbia and there is some suggestion that her performance in this film encouraged Frank Capra to use her in Mr. Deeds Goes to Town in 1936.
As soon as the film begins we experience a glorious tracking shot along the rows of desks in an office. It isn’t on the scale of the famous shot from The Crowd (1928) but in its own way it is just as beautifully choreographed. One of the extras on the Blu-ray is a video essay by Tag Gallagher which analyses much of the camerawork. It’s necessary to set up the office and the first comedy situation as the little man who runs the office becomes faced with a dilemma because the one person who is missing is Arthur F. Jones, the mild-mannered accountant played by Edward G. Robinson. I won’t spoil the gag. Jones is the central character in the narrative, except that he has a doppelgänger, a murderous gangster, ‘Killer’ Manion, who has escaped from prison and is suspected of being somewhere in the city. Inevitably, Jones will get arrested as Manion and then inveigled into a scheme to try to catch the real Manion. It’s a classic comedy, and especially romantic comedy, idea for constructing a narrative. In her role as ‘Miss Clark’, Jean Arthur is the single woman in the office who ‘Jonesy’ (as she calls him) secretly admires. His role as Manion’s double will bring them together.
There is an enormous energy about the film in its crowd scenes, partly because Robinson and Arthur give lively performances and partly because of that strange convention that bedevils Hollywood crime films, causing police to arrive armed to the teeth in busloads and every photographer in the city jostling for space in the press briefing rooms. Ford and August handle all these scenes with aplomb and it’s interesting to see Ford working in this swift kind of screwball comedy. There is some remarkable optical work in doubling Edward G. without the use of digital FX. There are also some nice sight gags including the one above of Ettiene Girardot as Mr Seaver, Jonesy’s boss. I don’t think it’s making fun of a short man to enjoy the difference in height. There is an exciting finale but the weakness in the film for me is a failure to fully exploit the potential of Jean Arthur’s character, i.e. the screwball comedy elements get lost in the mix. (The Blu-ray disc includes an enthusiastic and enjoyable presentation on Jean Arthur’s career by Pam Hutchinson, but unfortunately there isn’t very much about her work on this particular film.) There is a suggestion that aspects of the original story don’t appear in the final cut as there were concerns that they would contravene the newly operational Production Code, so several plot developments take place off-screen (a kidnapping and Manion’s violence in prison). Having said that there is already a great deal squeezed into the film’s running time of 93 minutes. Two bits of IMDb ‘trivia’ are worth mentioning. First there is one of the worst ‘goofs’ I’ve ever seen in a Hollywood feature in which either continuity or the edit team missed the consequences of an action. It drove me mad for a while – Ford did have a reputation for sometimes not worrying about tying up loose ends. The second trivia point is that IMDb claims that this film prompted a Hindi cinema Shah Rukh Khan starrer Duplicate in 1998.
I’ll remember this film for Edward G. Robinson’s dynamic performance, Jean Arthur’s comic chops and Ford’s energetic direction. Oh, and there is another Fordian character with a running gag featuring Donald Meek as a claimant for the reward after he first spots Jonesy as Manion early in the film. Meek appeared in several Ford films, including as the mild-mannered booze salesman in Stagecoach. In retrospect it is a shame Ford didn’t continue with this kind of busy comedy.
This film is both like and unlike other John Ford Westerns. Many of the Ford stock company are present in the cast and crew and the film is dedicated to ‘The Memory of Harry Carey, Bright Star of the early western Sky’. Carey had starred in the first two adaptations of the story by Peter B. Kyne in 1916 and 1919. Ford directed the 1919 film. Carey became one of Ford’s closest friends and an important actor and mentor on Westerns. He died in 1947. Ford then invited his son, Harry Carey Jr. to appear in Three Godfathers and he would go on to become a regular member of the company. The same story was used also in 1921 (Ford Again), 1929 (William Wyler) and 1936. Ford’s status in 1948 meant that Argosy Pictures was able to arrange distribution via MGM with a substantial budget including Technicolor. The photography was by Winston C Hoch, who would go on to win an Academy Award for his Technicolor cinematography on She Wore a Yellow Ribbon the next year. I have to say that I think Three Godfathers is even more beautiful in its use of colour than the later film – though it might simply be a down to the better quality DVD from Warner Video. The title by the way was originally 3 Godfathers in North America but I’ve always known it by its UK title. In Quebec it was known as Les fils du désert – I wonder what the Laurel and Hardy film was known as in France?
If you don’t know the story, it must be quite something to be adapted six times you might think. It is actually very simple as a kind of Christian fable, a take on the Christmas story. John Wayne, Pedro Armendiráz and Harry Carey Jr. are a trio of, presumably not very proficient, bank-robbers. After a raid on the bank in Welcome, Arizona they are chased by a posse led by the local sheriff Perley Sweet (Ward Bond) and end up stranded in the desert without water. Here they find a woman in a covered wagon about to give birth. Her husband has disappeared and I won’t spoil any more of the story. You can work out the plot by simply referring to the film’s title. I first saw the film in the early 1970s and I couldn’t remember anything except the sand dunes, John Wayne and the baby.
This was one of Ford’s favourite films and there are a number of stories associated with it, several emanating from Harry Carey Jr. who was interviewed by Lindsay Anderson in 1978 and later wrote his own memoir. Carey’s father and Ford eventually fell out or perhaps simply couldn’t cope with each other on set, although Carey Sr. appeared for Ford again in The Prisoner of Shark Island (1936). Each thought the other didn’t want to work with them. Ford arranged for a stunt rider to pose on Carey’s own horse for the dedication shot. He told Olive Carey that he would use Harry Carey Jr. on 3 Godfathers on the day that Harry Snr. died. Harry Jr. had already worked in small roles in a couple of films but Ford gave him an ‘Introducing Harry Carey Jr.’ credit. He also persuaded him to sing in the film. Harry Carey Jr. reveals that Ford actually treated him quite harshly on set, but taught him very well in terms of what was required. Harry Carey Jr.’s other story concerns Pedro Armendiráz. It appears that Ford always chose costume items for characters in Westerns. Armendiráz, who was a very popular and celebrated actor in Mexico, had already appeared for Ford in The Fugitive and Fort Apache and he turned up for the shoot in a tailored outfit fit for Mexico’s leading actor. Ford told him the outfit was completely unsuitable and chose one himself. Armendiráz had made a fatal error and after this film he never worked for Ford again. Ford was in charge and took all the decisions. You didn’t try to make your own. The stock company understood this and were rewarded with future parts. As well as Carey, Wayne and Bond, Ben Johnson was on this shoot in a minor role, Mildred Natwick was the woman having the baby and Mae Marsh was Ward Bond’s wife. Jane Darwell, Hank Worden and Jack Pennick also had small roles. This was definitely a stock company picture. Winton C. Hoch was new to the company and he quickly learned not to make too many suggestions to Ford.
The use of the stock company almost exclusively in this film, coupled with the absence of Ford’s usual interest in exploring myth and the history of the West in his films of this period, means that audiences only have two choices. One is to dive into the sentimentalism and religious celebration of the Christmas story and the other is to look for meanings in the relationships of the familiar Ford actors and characters. I can usually cope with Ford’s sentimentalism but on this film I did find it too much in the last section. I’m happy to simply enjoy the playing and the cinematography. The players are generally very good. Some like Mae Marsh and Mildred Natwick seemed to me to be eccentric or deliberately provocative casting decisions and Jane Darwell is definitely ‘excessive’ as a man-hungry woman looking after a remote railway halt. To add to the melodrama (a comedy melodrama of redemption?), Ford uses songs both diegetically and as part of the score. Richard Hageman’s score uses ‘The Streets of Laredo’ as a motif in the opening titles and Harry Carey Jr.’s rendition of ‘Gather at the River’ (one of Ford’s favourite hymns) is matched in the closing sequence with a choral version of ‘Bringing in the Sheaves’ by the women of the town (a more joyous crowd than the women of the town driving out Claire Trevor in Stagecoach). The whole town then gives a second rendition of ‘Gather at the River’ to close the film. 3 Godfathers was a hit with audiences even if some critics didn’t like it.