Back when interracial marriage was a shady topic (are those dark days coming back?) the U.S. military had some adjustment issues. Full integration of the ranks didn’t remove the anti- Japanese bigotry. James Michener’s novel has been transformed into a big-scale romance, with Marlon Brando coming to terms with a split in loyalty between the flag and his private life. The big shock is that the Paul Osborn’s screenplay doesn’t let the military off easy.
Sayonara
Blu-ray
Twilight Time
1957 / Color / 2:35 widescreen / 147 min. / Street Date November 14, 2017 / Available from the Twilight Time Movies Store / 29.95
Starring: Marlon Brando, Patricia Owens, James Garner, Martha Scott, Miiko Taka, Miyoshi Umeki, Red Buttons, Kent Smith.
Cinematography: Ellsworth Fredericks
Film Editors: Philip W. Anderson, Arthur P. Schmidt
Production Design: Ted Haworth
Original Music: Irving Berlin, Franz Waxman
Written by Paul Osborn from the novel by James Michener
Produced by William Goetz...
Sayonara
Blu-ray
Twilight Time
1957 / Color / 2:35 widescreen / 147 min. / Street Date November 14, 2017 / Available from the Twilight Time Movies Store / 29.95
Starring: Marlon Brando, Patricia Owens, James Garner, Martha Scott, Miiko Taka, Miyoshi Umeki, Red Buttons, Kent Smith.
Cinematography: Ellsworth Fredericks
Film Editors: Philip W. Anderson, Arthur P. Schmidt
Production Design: Ted Haworth
Original Music: Irving Berlin, Franz Waxman
Written by Paul Osborn from the novel by James Michener
Produced by William Goetz...
- 11/21/2017
- by Glenn Erickson
- Trailers from Hell
Twilight Time brings Sam Fuller’s exotic 1955 color noir House of Bamboo to Blu-ray, a resplendently colorful film and the first major Us production to film in post-war Japan. While Fuller re-tooled Harry Kleiner’s script for the 1948 film The Street with No Name to meet his own offbeat needs, the film experienced a rather cool reception, garnering praise for Joseph MacDonald’s cinematography (and has since been hailed by sources as some of the best uses of widescreen photography in the history of cinema) but little else. Following on the heels of successful black and white titles like Hell and High Water (1954) and the acclaimed film noir Pickup on South Street (1953), it’s a harder title to classify, featuring Fuller’s usual signature of off-balance touches in a production that now seems ahead of its time (especially compared to something like 1964’s black and white provocation The Naked Kiss...
- 9/1/2015
- by Nicholas Bell
- IONCINEMA.com
Jonathan Rosenbaum's posted the introduction to his 2004 book, Essential Cinema: On the Necessity of Film Canons as well as his list of 1,000 Favorites. Also in today's roundup of news and views: The new Film Quarterly features a dossier on Richard Linklater, Cahiers du Cinéma on Martin Scorsese in the 80s, Peter Cowie's memories of François Truffaut, Chris Cagle on Michael Glawogger's Workingman's Death, Jake Cole on Eric Rohmer's The Marquise of O, J. Hoberman on Jean Renoir’s A Day in the Country and Billy Wilder's Kiss Me, Stupid, Artforum and the New York Times on Shirley Yamaguchi and Setsuko Hara—and more. » - David Hudson...
- 3/21/2015
- Keyframe
Jonathan Rosenbaum's posted the introduction to his 2004 book, Essential Cinema: On the Necessity of Film Canons as well as his list of 1,000 Favorites. Also in today's roundup of news and views: The new Film Quarterly features a dossier on Richard Linklater, Cahiers du Cinéma on Martin Scorsese in the 80s, Peter Cowie's memories of François Truffaut, Chris Cagle on Michael Glawogger's Workingman's Death, Jake Cole on Eric Rohmer's The Marquise of O, J. Hoberman on Jean Renoir’s A Day in the Country and Billy Wilder's Kiss Me, Stupid, Artforum and the New York Times on Shirley Yamaguchi and Setsuko Hara—and more. » - David Hudson...
- 3/21/2015
- Fandor: Keyframe
Jonathan Rosenbaum's posted the introduction to his 2004 book, Essential Cinema: On the Necessity of Film Canons as well as his list of 1,000 Favorites. Also in today's roundup of news and views: The new Film Quarterly features a dossier on Richard Linklater, Cahiers du Cinéma on Martin Scorsese in the 80s, Peter Cowie's memories of François Truffaut, Chris Cagle on Michael Glawogger's Workingman's Death, Jake Cole on Eric Rohmer's The Marquise of O, J. Hoberman on Jean Renoir’s A Day in the Country and Billy Wilder's Kiss Me, Stupid, Artforum and the New York Times on Shirley Yamaguchi and Setsuko Hara—and more. » - David Hudson...
- 3/21/2015
- Fandor: Keyframe
Jonathan Rosenbaum's posted the introduction to his 2004 book, Essential Cinema: On the Necessity of Film Canons as well as his list of 1,000 Favorites. Also in today's roundup of news and views: The new Film Quarterly features a dossier on Richard Linklater, Cahiers du Cinéma on Martin Scorsese in the 80s, Peter Cowie's memories of François Truffaut, Chris Cagle on Michael Glawogger's Workingman's Death, Jake Cole on Eric Rohmer's The Marquise of O, J. Hoberman on Jean Renoir’s A Day in the Country and Billy Wilder's Kiss Me, Stupid, Artforum and the New York Times on Shirley Yamaguchi and Setsuko Hara—and more. » - David Hudson...
- 3/21/2015
- Keyframe
Asian cinema icon Shirley Yamaguchi has died, aged 94.
The film icon, whose real name was Yoshiko Yamaguchi, was one of the most celebrated Asian actresses in the 1940s and 1950s.
Yamaguchi passed away from heart failure on September 7, Japanese broadcaster Nhk confirmed.
The actress starred in many Chinese-language films during World War II, attracting considerable controversy and legal rebukes from the post-war government.
After the war, she appeared in legendary filmmaker Akira Kurosawa's 1950 classic Scandal, the romantic epic Escape At Dawn and the Hollywood film Japanese War Bride.
She began a political career in 1974, after she was elected to the Japanese House of Councillors as a member of the Liberal Democratic Party. She served until 1992.
The film icon, whose real name was Yoshiko Yamaguchi, was one of the most celebrated Asian actresses in the 1940s and 1950s.
Yamaguchi passed away from heart failure on September 7, Japanese broadcaster Nhk confirmed.
The actress starred in many Chinese-language films during World War II, attracting considerable controversy and legal rebukes from the post-war government.
After the war, she appeared in legendary filmmaker Akira Kurosawa's 1950 classic Scandal, the romantic epic Escape At Dawn and the Hollywood film Japanese War Bride.
She began a political career in 1974, after she was elected to the Japanese House of Councillors as a member of the Liberal Democratic Party. She served until 1992.
- 9/14/2014
- Digital Spy
Japanese film idol Yoshiko Yamaguchi, who was known as Rikoran and symbolized Japan's wartime dreams of Asian conquest, has died at age 94. Known as Shirley Yamaguchi in the U.S. and one of biggest Japanese film stars during and after World War II, Yamaguchi died of heart failure Sept. 7, according to Japanese public broadcaster Nhk. Born to Japanese parents in northern China in 1920 and raised in Japan's wartime puppet state Manchukuo, Yamaguchi was adopted by a Chinese friend of her father and was renamed "Xianglan," or "Fragrant Orchid," when she was 13. She debuted as
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- 9/14/2014
- by The Associated Press
- The Hollywood Reporter - Movie News
For Tsai Ming-liang, emotion is skin-deep. No other working filmmaker is more sharply attuned to how raw, mundane feeling—feeling before it has been made compelling by drama or comprehensible by psychology—is undergone within the body and then hidden on its surface. The stupor induced by a long fit of crying, the half-bored mindlessness of bad sex, the feeling of one’s face on the pillow or one’s bare ass on the cold toilet seat: Tsai magnifies these semi-conscious fumblings and renders them lucid. His focus on minimally expressive figures making their way through a series of urban landscapes may owe a debt to Buster Keaton and Jacques Tati, but his style also distinguishes itself through an elevation of bodily embarrassment, its location of all that fleshy palpability onscreen within moments of non-being and self-forgetting.
So airtight has this style been at times that it’s easy to...
So airtight has this style been at times that it’s easy to...
- 12/6/2011
- MUBI
Mt. Fuji in the background is House of Bamboo's introductory image, snow-capped and serene, a travelogue shot; then, a few moments later, the same mountain is viewed from the vantage point of the scene of a crime by a ground-level camera, framed through the outstretched feet of a murdered soldier: Samuel Fuller in Japan, like tabloid ink sprayed on kakejiku scrolls. Tokyo in 1955 is noticeably the same one filmed concurrently by Ozu and Naruse, but it's also something of an open city, the war a fresh memory and the American Occupation fresher still, with glimpses of the wharfside shanties—anxious worlds barely afloat—Nagisa Oshima would explore in The Sun's Burial. Into it stomps agent of mystery Robert Stack, who's such a truculent Yank that, rather than taking in the rooftop rehearsal of a Noh troupe or the awe-inspiring tracking shot that captures the CinemaScope sprawl brimming with movement,...
- 8/27/2011
- MUBI
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