Social isolation and “working from home” mean a lot of time for movie-watching … and the volume far outstrips my ability to say anything substantive about many of the films I do watch: so here I mostly just acknowledge what I’ve been viewing in the past 4-6 weeks. Part one of four.
Although there are obviously differences from culture to culture, many Asian movies share a tendency to to ignore the kind of “realism” Western, and particularly American, movies so often feel is necessary – which is one reason so many U.S. remakes of Asian genre movies take on a pedestrian quality nowhere evident in the originals. Three recent Asian movies – from Korea, Japan and China – use different approaches to explore societies in which economic and social inequality engender violence and to some degree madness. One uses blackly comic satire, one pushes genre tropes to absurd extremes, and one pushes neorealism into the realm of nightmare.
Frank Sinatra, a star and celebrity, could also be an impressive actor when he cared to make the effort: two of his best performances from the 1960s, in John Frankenheimer’s The Manchurian Candidate (1962) and Mark Robson’s Von Ryan’s Express (1965), reveal a willingness to play flawed characters and expose their weaknesses.
Technical accuracy is not necessarily what makes science fiction satisfying; more important is storytelling, as illustrated by two older, and one recent, movies released on Blu-ray: Byron Haskin’s Robinson Crusoe on Mars (1964), Joseph Sargent’s Colossus: The Forbin Project (1970) and Denis Villeneuve’s Arrival (2016)..