Sunday, August 29, 2021

An Appreciation: Anthony Mann

Dr. Broadway (1942) ** - Mann's debut film is more of an hour long comedy that doesn't quite hit all its marks as a lawyer has a very busy couple of days, saving a woman from jumping off a ledge and then dealing with local crooks. It all feels more like a pilot for zany adventures of said Dr. Broadway than a fully realized effort.



Strangers In the Night (1944) *** - Mostly interesting for the way it blends soap opera dramatics with glimmers of small town noir as a war veteran comes home expecting to meet his beautiful pen pal, then getting wrapped up in a mysterious relationship with the girl's scheming mother. It never quite breaks the way one expects which is refreshing.


The Great Flamarion (1945)  ***1/2 - Erich von Stroheim is characteristically stiff as the titular showbiz whiz caught up in a black-hearted tale of female duplicity and murder. Hiding nothing from the viewer and taking place as a deathbed confession, "The Great Flamarion" is ultimately a terrific little gem hiding under its abysmal title.


Two 'o' Clock Courage (1945) **1/2 - Amnesiac thriller/comedy in which a cabgirl (Ann Rutherford) helps a confused man (Tom Conway) piece together the fuzzy remnants of his evening. Far less concerned with any reality around the mystery and aiming for broad laughs and generic stereotypes, it lands awkwardly due to its bipolar tone.


Sing Your Way Home (1945) ** - The musical numbers aren't stagey and the characters are even less interesting as a New York journalist is assigned to chaperon a musical troupe back across the Atlantic after the end of WW2. It all feels like a Mann-for-hire job.


Strange Impersonation (1946) *** - It hustles through a variety of genres pretty early on- from doppelganger crime thriller to body horror, even managing to work in romance!- and shows the nimbleness Mann controls as each furtive plot twist falls into the next. Entertaining and dare I say an influence on later psychological thrillers like "Eyes Without a Face" and "The Face of Another".


The Bamboo Blonde (1946) ** - Another musical/romance hybrid, this one just as lackluster as "Sing Your Way Home" for the way it tries to place a rainbow temperament over everything from the trials of war to the oscillations of love. A WW2 pilot (Ralph Edwards) meets cute a singer (Frances Langford) and then inadvertently has her image painted on his bomber plane, which becomes a good luck charm and earns them national acclaim. More distressing than the facets of war, however, is the war for the pilot's heart that erupts once back at home between the cabaret singer and his gold-digging fiancee. I'm sure this was meant as a charming balm for the post-war era, but it just comes off hollow.


Desperate (1947) *** - With tinges of noir creeping into his work for the past couple of years, Mann goes full out with "Desperate", including expressionistic and menacing close ups and the omniscient swinging overhead lamp scene for good measure. Visuals aside, the narrative isn't as compelling when innocent truck driver Steve Brodie becomes embroiled in a robbery and manhunt that causes him and his newlywed (Audrey Long) to make some dubious choices along the way. Raymond Burr is excellent is as the pursuing gangster, but overall, the film is much more interesting for its immersion in the young noir aesthetic.


Railroaded (1947) ** - Mann's predilection for an innocent rube to get drawn into criminal clutches appears here again as a young man (Steve Ryan) gets framed for a robbery and cop murder. Unlike his previous efforts, "Railroaded" isn't successful because of the completely unbelievable segues it follows as the man's sister (Sheila Ryan) inserts herself into the investigation.


T-Men (1947) ***1/2 - After a series of fairly lightweight crime thrillers (from "Strange Impersonation" to the previous year's "Railroaded"), "T-Men" is something altogether more proficient. It also signals a shift in his career to the more grimy noirs that would instill him as a master of the genre. This film is lean- oozing shadows and hard nosed characters who may or may not make it out intact- and its procedural roots feel revolutionary as two men (Dennis O'Keefe and Alfred Ryder) stalk a counterfeiting ring from Detroit to Los Angeles.


Raw Deal (1948) **1/2 - Tough but ultimately forgettable crime drama in which escaped prisoner Dennis O'Kefee gets to act like a jerk to not one but two women who've been roped into his on-the-lam scamper against the law.


He Walked By Night (1948) ***1/2 - Solid procedural about the hunt for a criminal who kills a cop, shifting easily between the sweaty psychology of the killer and the level headed thinking of the cops on his trail.


Border Incident (1949) **** - Made right before his run of noirs would be over and he'd embark on a series of westerns throughout the 50's, Mann's "Border Incident" feels especially dark, full of heroic compromise and real-world nihilism that cancel each other out. It's also quite the prescient film. If not for a somewhat tacked-on voice over that closes the film with a hint of optimism, "Border Incident" could be released today and we'd all nod and agree that the problem is as divisive and violent as ever.


Reign of Terror (1949) **** - Though taking place within the Robespierrian subterfuge of late 18th century France, Anthony Mann's "Reigh of Terror" walks, talks and looks like a 40's American noir. With barely a frame of sunlight to brighten the elusive motivations of its various double and triple agents- all searching for a little black book of names that could derail or save France's future- the film is heavy in both mood and tempo. It's also a white-knuckle ride of close calls and searching deception. One of Mann's best films. 


Side Street (1950) *** - Evocative use of night and shadow, which of course epitomizes most of the great film noirs, but Mann really spins it here as the darkness seems to be encroaching on the hapless man (Farley Granger) who makes a very bad decision.


The Furies (1950) *** - Beginning to transition from noir to nifty westerns, "The Furies" is an interesting bridge between both styles of film, keeping some of the arched melodrama of film noir against the expanse of the open range. Highly watchable.


Winchester '73 (1950) ***1/2 - The west as seen through the passing of a death maker (a Winchester rifle) and all the greed, blood and jealousy it holds. Interesting for how it stars Jimmy Stewart and then basically forgets about him for half of the film, instead focusing on the parameters of violence that ensue once he loses his prized possession. It's easy to see why this is a landmark 50's film, let alone a landmark western.


Devil's Doorway (1950) *** - What's most dispiriting about "Devil's Doorway" is the modern cancel culture shade of lens that has to be cast upon the film for using a pretty standard buff white male (Robert Taylor) as the lead in the film's otherwise sharp portrayal of society's  greedy/burning desire to eliminate Native Americans (and specifically the land of Taylor's Indian homestead) from the Wyoming landscape. The film looks terrific.... features some especially thorny characterizations, but ultimately suffers every time it chooses to elevate Taylor as the brooding, sacrificial "red man".


The Tall Target (1951) ***1/2 - Applying the same veneer of shadowy film noir to an historical drama like he did with "Reign of Terror", this film pits an officer of the law tracking down a supposed assassin of Abraham Lincoln the night before a big speech. Taking place solely aboard a train and the steam-filled shadows of various midnight stops along the way, "The Tall Target" is expressive for how Mann maneuvers in tight quarters and pinches the tension to excessive heights. 


Quo Vadis (1951) *1/2 - It's debatable how much of this Mann directed (credited fully to Mervin LeRoy), but regardless, it's a stodgy and infinitely boring recollection of the troubles in Rome just after the persecution of Jesus and Emperor Nero's bamboozled reign. Overacting is just one of the many problems, including a stolid Robert Taylor performance that see him as a protagonist we don't care about in a setting that feels like a cardboard stage. Pretty atrocious all around.



Bend of the River (1952) *** - Interesting for the way its more of an ensemble film about western expansion and how greed and politics rapidly divided the virgin territory. As a cowboy escorting a group of land squatters in the deep Northwest, Stewart is able again and "Bend of the River" continually surprises for the relationships built (and destroyed) by avarice and greed.


The Naked Spur (1953) **1/2 - Another in a line of westerns Mann made with Jimmy Stewart, "The Naked Spur" feels like the weakest of them yet (admittedly seen out of order with "The Man From Laramie" before this one). Yes, Stewart is tortured and relentless in his search to return outlaw Robert Ryan while romancing Vivian Leigh along the way, but all the beats of repressed guilt and laconic racism have been better expounded upon in far better films... and far better ones by Mann himself.



Thunder Bay (1953)- ***1/2 - More so than the Jimmy westerns, I much prefer this (never mentioned) oil-infested tale of Stewart as a wildcatter coming to the bayou of Louisianan and stirring up volatile tempers and long shot romance as he builds an off shore oil rig. The close-up of his face with electric eyes and a huge crooked smile as oil cascades over his entire body, was surely an inspiration for the single-minded fury of Daniel Day Lewis in "There Will Be Blood".


The Glenn Miller Story (1954) ** - Quite the rosy portrait of big band pioneer Glenn Miller. No warts at all, it's almost sunshine to the point of nausea.

 

The Far Country (1954)  ***1/2 - A sense of jazz infects most of Mann's westerns with this one and after. It follows a certain plot (this time sees Jimmy Stewart trying to homestead in Alaska with the gold rush) but sort of drifts along as a tale of anti-hero protection as more corrupt forces impinge along the virgin landscape and threatens its honest citizens. Of course, Stewart finds himself doing the protecting. Characters drift in and out.... situations arise and fall back.... it's all handled very delicately and deliberately with a fine sense of landscape and hushed heroism.


Strategic Air Command (1955) ** - Re-teaming fictional husband and wife duo Jimmy Stewart and June Allyson from "The Glenn Miller Story", "Strategic Air Command" is all about the shuffling and dangerous duty of a 50 year old baseball player (?!) called back into active duty. Stewart seems especially in full Stewart shrift here and the film never raises above low-level pulse.


The Man From Laramie (1955) ***1/2 -  Continuing on his amazing run of morally shaded westerns, "The Man From Laramie" is unique for how Mann (and actor Jimmy Stewart) manipulates the simple story of a drifter arriving in a new location into a complex examination of said man's influence on the society's black hole of greed, violence and contemptible familial lineage. 

 

The Last Frontier (1955) ** - Victor Mature is poorly cast as a fur trader wrangled into the US Army as a scout during a territorial dispute with warring Indian tribes. It's said to be Mann's interpretation of "Fort Apache", but it's a film that sputters and stops every time Mature's maniacal interpretation sidles onto the screen. 

 

Serenade (1956) ** - Following the life of a field worker who ascends to great heights as a vocalist (Mario Lanza), "Serenade" was probably a great film for all those mob guys to take their girlfriends to see on Saturday nights. For everyone else, not so much as flat acting and sleepwalking direction pretty much sinks everything else here.


Men In War (1957) *** - Tough vision of war that feels like a step brother to the films of Sam Fuller.


The Tin Star (1957) ***1/2 - Henry Fonda just adds gravitas to everything he touches. And so he does here in "The Tin Star" as a bounty hunter who saunters into town and ends up helping it and its green sheriff (Anthony Perkins) discover a moral compass. It's filmed efficiently and its themes of incorruptible manhood rank alongside the best of Mann's other films starring Jimmy Stewart.


God's Little Acre (1958) **1/2 - A prickly Southern soup of high emotions and sweaty horniness as a family comes apart at the seams while digging on the family farm for treasure. Robert Ryan is gruff as the patriarch trying to hold things together, and of course, it all goes bad.

 

Man From the West (1958) ***1/2- Revisiting the strong/silent type savior complex that's buried within most of Mann's westerns, "Man From the West: sees Gary Cooper embody the role as an ex-outlaw forced to protect a schoolteacher from his old gang. Lots of shifting tensions and cinematography that propel this film as one of the late highlights of Mann's fading interest in the genre.


Cimarron (1960) **1/2- Epic idea about the Oklahoma land settling rush starring a miscast Glenn Ford playing the all good hero fighting both Old West bullies and the array of problems that comes with starting a new life in an old land. Oddly, the film's supporting characters seem to draw more attention than its main ones.


El Cid (1961) ** - Bloated and tedious, "El Cid" suffers from old Hollywood and its penchant for telling ancient stories with old white men playing the leads. This time its Charlton Heston as the titular Cid, becoming a whitewashed hero of both Chrisrians and Moors. I'm over this type of thing.

 

The Fall of the Roman Empire (1964) **1/2 - Mann continues his foray into big budget Hollywood spectacle with this telling of ancient history mirrored through the glances of glamorous superstars and impeccable set design. I liked it a bit more than the others, but its still an example of heartless storytelling mired in early 60's spectacle.


The Heroes of Telemark (1965) ***1/2  -Sturdy men-on-a-mission war film starring Kirk Douglas and Richard Harris that takes place in a part of the world rarely shown during WWII- the snow-covered landscape of Norway and military subterfuge as the duo try to take out a key outpost for the Germans. Featuring some thrilling set pieces and a narrative that starts and stops with energetic action and framing, "The Heroes of Telemark" should be mentioned more often when talking about war 'actioners'.


A Dandy In Aspic (1966) *** - Mann's final film as he died during production. It's a shame because this spy film is a cold hearted blend of groovy techniques and stone cold emotions as Laurence Harvey plays both sides of the law trying to hunt down (or protect?) a double agent during the Cold War. With Mann adapting to some of the swinging 60's aesthetics, it would have been neat to see how he marched into the early 70's and the burgeoning New Wave of American cinema that found the old Hollywood stalwarts fumbling (Otto Preminger) or thriving (Nicholas Ray).



Unable to view: Moonlight In Havana, Nobody's Darling, My Best Gal

Sunday, August 22, 2021

When the Bad Men Came to Town: Alain Cavalier's "Pillaged"

The French sure had a way of regurgitating film. Taking the stellar heist films of the 50's such as John Huston's "The Asphalt Jungle" and Jules Dassin's "Riffifi" and metastasizing them into a lurid sub-genre all their own, there lies so many hidden gems (and outright classics of their own) in the decades to come. From Jean Pierre Melville's ice-cold treatises on betrayal and meticulous technique to the bruised energies of the many Alain Delon titles, there's always a surprise to be had.

Alain Cavalier's "Pillaged" (1967) is one of them. If there weren't twenty more years of such films coming down the pipeline, I'd wager that "Pillaged" was a capsized attempt to wave down all the other entries. The very plot- about a group of men taking hostage an entire town over the course of one long night in order to rob all its cash dispensaries- seems like the stuff of graphic novels. It plays bold, fast, and tense and it deserves a wider audience (are you listening Shout Factory! or Code Red???)

Released in 1967, the film stars a who's who of French character actors (Michel Constantin, Daniel Ivernel, Phillipe Moreau and Irene Tunc) as a motley group of safe crackers, stick-up men and underworld roustabouts tossed together for the sole purpose of surveying a gorge-village town and robbing the bank, the local steel mill cash holdings and anything else that crosses their paths. Each man has a distinct job and within 20 minutes, "Pillaged" is knee deep in the overnight heist, carefully establishing its plan and then observing as most things go like clockwork. Of course, being a French film noir, something unexpected crops up and the job goes incrementally wrong before the sun rises.

Filmed by workmanlike director Alain Cavalier (and only his third film after the aforementioned Delon vehicle "The Unvanquished" and his startling debut "Le Combat dans I'il") "Pillaged" doesn't ascribe many sympathies to its robbers.... and with the exception of a Stockholm-syndrome induced female abductee, very few other personalities are brought to the forefront. This is a film that excels in examining the steps of a crime. It's hugely believable (at least in the mid 60's when all it took to kill any communication was a snip of the wire) and executed with keen skill and style.

Sunday, August 08, 2021

On "Lonely Are the Brave"

In David Miller's "Lonely Are the Brave", the wild west isn't in conflict with the modern world. It's already past... a distant, dusty memory as technological advances and "civilization" has already encroached on its manifest destiny boundaries. Cowboy Jack Burns (Kirk Douglas) is the one who refuses to relent. He's still playing a cowboy while- in the opening few minutes and a furtive harbinger for the finale- his horse tentatively makes it across a busy highway to arrive at his destination where he can kick off his chaps and settle into the role of maverick savior for his old friend Jerry (a wonderfully complex Gena Rowlands). And while he agrees to help spring her husband (and his mutual friend) from a local jail cell, "Lonely Are the Brave" never forgets it's dichotomy of something stuck in the past century. One side uses a horse, while the other uses helicopters and off road vehicles. The dye is set early on, but Douglas and filmmaker Miller do a fabulous job of drawing out the tension in mutating a simple idea into a lethargic lament.

As Jack, Douglas is all gristle and clenched jaw. He accepts the challenge of helping his friend with the gusto of an outlaw, first picking a (hilariously staged) fight with a one-armed drunkard in a saloon, then acting like the pied-piper savior for a cell full of locked up guys. Even that scenario goes sideways, further deflating the mythic qualities of the wild west anti-hero riding in and saving the day. From there, the second half of the film is a glorious cat and mouse chase in the mountains as the sheriff (Walter Matthau) tries to locate the escaped convict. As Dalton Trumbo's precise script belies, neither man seems to be taking the game very seriously, even as gunfire is exchanged and freedom (or failure) is just mere inches away.

Released in 1962, "Lonely Are the Brave" can, I suppose, be called a western. Like John Huston's equally brilliant "The Misfits" just a year earlier, both films represent a moment in time when the landscape was truly shifting beneath the feet of so many cultures. Some embraced the change with open arms while others remained fixated in the roots of their past, no matter how abruptly the winds were blowing. Both Matthau as the law and Douglas as the "outlaw" completely believe their outlook is correct. Even in the film's final, mournful moments, both men nod supremely that they're right. Honestly, it's hard to deny their worldview. "Lonely Are the Brave" posits that both can exist at the same time.

Saturday, July 24, 2021

The Current Cinema 21.1

 No Sudden Move

An ironic title for a film that involves so many stunning little shifts in loyalty between its characters, Steven Soderbergh's "No Sudden Move" is his best film in years. Beginning as a modest crime picture in which three men (Don Cheadle, Benecio Del Toro and Kieran Culkin) are assembled to conduct a straightforward kidnapping and extortion gig in 1950's Detroit and ending as a (naturally) cynical exploration of criminals who think they've got it all figured out, Soderbergh and screenwriter Ed Solomon wring so much subtle electricity out of the genre that the film ends up feeling downright revelatory. Co-starring David Harbour, Amy Seimitz, Brendan Fraser, Jon Hamm, Ray Liotta and Julia Fox as people spinning on the edges of the mistrust and deceptively-lined noir frame, "No Sudden Move" is the perfect project for Soderergh, at once a puff-piece of big star entertainment before it lines up all the cool whiffs of genre and settles into a brilliantly choreographed example of the genre's best.

 

Summer of Soul 

I was already entranced by Questlove's sewing together of the long forgotten footage from the 1969 Harlem Cultural Festival- partly from the crisp footage of soul, gospel and R&B acts that danced their way across the hearts and minds of those present and partly for the immense joy in discovering such an event lost in time- but the moment Sly and the Family Stone took the stage, "Summer of Soul" became a transformative film. And as one of the people interviewed recollects, it seems right to call that one performance the crash-through of barriers from the old-school doo-wop paradigm of entertainment to the modern age of funk 'hippieness'. Beyond just a performance film, Questlove has surrounded this amazing documentary with reflective cultural significance. Yes, we get the music, but he also instills a deep sense of shifting history in the moment, from the sour celebration of the have-nots in America to the joyous walk on the moon to the overshadowing by Woodstock. "Summer of Soul" is a terrific film.


My review of "Val" can be found at Dallas Film Now



Monday, July 05, 2021

On Ettore Scola's "A Special Day"

Ettore Scola's "A Special Day" features an enthralling camera shot that does a lot more than map out the geographical terrain of the film's two central characters. It also establishes that Scola is deadly serious about making a statement on the serpentine nature of the historical and the personal colliding at the same time. The aforementioned shot happens early in the film after an introductory newsreel footage that shows Hitler and his Third Reich parading into Italy to meet Benito Mussolini and forge a relationship that would last until the end of World War II.  The camera begins in the courtyard of a tall apartment building complex, spinning upwards to reveal the concrete and windows that almost block out the sun before carefully panning across a row of windows and doors, finally settling on an illuminated opening where a woman (Sophia Loren) goes about her early morning chores in the kitchen. As we watch her dutifully wiping dishes and occasionally brushing the hair from her eyes, the camera glides into the apartment through the open window and proceeds to follow the woman around as she gets her children moving and wakes her husband (American actor John Vernon in a small role). This unbroken shot is not only a technical marvel for the way it slices through seemingly immovable objects, but reveals a typical woman in Italian society who will become irrevocably changed at the end of the picture.

Taking place over the course of just one day, "A Special Day" soon dispenses with every other character as they disappear into the streets to wave and cheer Hitler and Mussolini. The apartment building is empty, except for a solitary man working in his apartment directly across from Loren's view. When her pet bird escapes his cage and flies to his windowsill, the man (Marcello Mastroianni) and woman meet, talk, flirt and exchange ideas about the maelstrom of history swirling around them. While she chose not to go because she simply doesn't care about Italy's political strategy, he can't go anywhere for reasons that will become crushingly obvious before the end.

Loren and Mastroianni, who've been paired so many times before, have a casual elegance about them as they come together and fall apart, their dialogue rolling between them with the ease of professionalism both continually exhibit in all their work. Mastroianni, especially, is tasked with a conflicted character, at once attracted to Loren for her ideals and then forced to confront emotions that are hidden behind his true self.... emotions that have him writing with one hand and keeping a pistol close by with the other. And Loren, in the final image as she watches something across the courtyard, gives a full performance that suggests an alternate life would suit her perfectly.

It's not ironic that these two people meet and share each other's company on such a unique day. The film is a coded example of two people finding and accepting one another in a world increasingly redolent of tolerance and unity. That they ultimately can't live together happily ever after is the biggest tragedy of them all.

Sunday, June 27, 2021

Hazy Days: Les Blank's "A Poem Is a Naked Person"

I can only imagine the reaction if Les Blank's "A Poem Is a Naked Person" had actually been unleashed on the movie-going public when it was finished in 1974. Following alt-rocker Leon Russell around for a three year period in the boondocks of Oklahoma during various recording sessions three years prior, documentary filmmaker Les Blank's film is a meandering portrait of backwoods culture and hazy rock and roll lifestyles that feels like the anthropological template for the films of Robert Minerva and even Harmony Korine decades later.

Rarely shown outside of personal events for more than 40 years, "A Poem Is a Naked Person" only saw the real light of day in 2015-2016 after Blank's death, when it was remastered and released through Criterion.... with the support of Blank's son and especially Russell himself. What emerges in this crusty document of early 70's rhetoric is a blast. Darting from a wedding of a band member in Russell's very Southern gothic mansion to interviews with a very entertaining man who eats glass at an Oklahoma air show, "A Poem Is a Naked Person" is just as weirdly poetic as its title suggest. One does get a ton of Russell's earthy alt-country/rock music (and even more cameos from friends as diverse as Eric Anderson, JJ Cale and Willie Nelson), but the intention of the documentary is to replicate a time and place not through aggrandizement, but a down-and-dirty synthesis of creative artistry and all the weird freedom that brings with it.

All of that freedom (and glass eating) aside, "A Poem Is a Naked Person" fills a documentary gap that had been brewing for some time. Even though the grandfathers of the genre, such as Frederick Wiseman, D.A. Pennebaker and Haskell Wexler, were playing hard and fast with the rules of the form, what Blank ultimately creates with his effort is an explosive step forward. Yes, in a sense this is a musical documentary, but one that continually side-steps the music for a loose interpretation of whatever else caught his (or Russell's rag tag fellow musicians) eye. In the basic sense of the word, unless one is crafting a History channel documentary meant to educate a classroom, isn't that what the truest documentaries are supposed to do? In the case of Blank's film, he not only captures some musical momentum, but also the wild, unpredicatble and hazy world around that momentum.



 


Sunday, May 23, 2021

Star Children: Kiyoshi Kurosawa's "Before We Vanish"

A science fiction invasion film as seen through the (mostly) serene eyes of Kiyoshi Kurosawa, "Before We Vanish" brews at the same temperature as most of the auteur's previous work- that being part somnambulist before raging a bit brighter towards, in this case, ultimate apocalypse. Like Koji Yakusho in "Cure" (1997) or any one of the wide-eyed victims in his masterpiece "Pulse" (2001), the characters that populate "Before We Vanish" take some decoding before coming into sharp focus. But when they do, the film moves ahead with an entropic force that's hard to deny.

Opening on a mass murder as teenager Akira (Yuri Tsunematsu) stands over the bloody mess with pacified fascination, the echoes to "Cure" speak volumes. But before we get the chance to understand what this violent opening means, her story line is soon replaced by worrisome Narumi (Masami Nagasawa) as she cares for her husband, Shinji (Ryuhei Matsuda) whose mysterious sickness seems to be a neurotic imbalance that causes him to flop around and seemingly have to learn to walk again. Enter marooned news reporter Sakurai (Hiroki Hasegawa) snooping around the opening Akira murder story when he's approached by blank faced Suzuki (Ken Mitsuishi). It's here we finally get some explanation when Suzuki tells the report he's one of 3 aliens walking Earth, stealing "concepts" and ideas from humans in advance of an alien invasion. Sakuria begrudgingly agrees to be his 'guide' and chauffeur the stranger to various destinations looking for the other two body snatchers.

"Before We Vanish" certainly plays with lofty ideas. In the various scenes where the aliens come into contact with other humans, they engage in conversation (or create their own confrontations as Shinji does with one homeowner) forcing the human to focus on an idea (i.e. possessions, labor and the most complex of them all love) before stealing them away with a touch to their forehead like an innocent E.T. The only problem- the concept is then completely lost on the human being, leaving them a floundering soul in a world devoid of their understanding. Naturally, this begins a mysterious pandemic that sees the Health Ministry and the armed forces mobilizing to solve the unknown problem.

 

Suzuki does eventually meet Shinji and Akira, and the film devolves into more of an action parody with sub machine guns and rudimentary technological gadgets needed to communicate to the heavens than anything else as the trio struggle to complete their "mission". But before that (and as with all Kurosawa films) there's an attention to mood and style that's unmistakable. The film is at its best when its dealing with the tug and pull love between Shinji and wife Narumi. She wants to believe her husband is suffering from some sort of amnesia, but is finally forced to realize he really might be an idea-sucking extra terrestrial. And the way their relationship plays out to the very end is heartbreaking and complex, especially in her last request that may have saved the world after all.

There are some faults with "Before We Vanish", such as Kurosawa's forced world building of pandemonium breaking out across the city. Something tells me, for once, a tight focus (and perhaps a minuscule budget) prevented the filmmaker from truly expanding his canvas of panic and public menace outside of a single hospital scene.

Still, as a society who've just begin to marginally emerge from a worldwide pandemic, the unknown creeping horror presented in "Before We Vanish", and so many other terrific Kurosawa films does strike a deep chord of recognition. Released in 2017 but never proceeding further than the festival circuit, "Before We Vanish" may strike one as unnerving, but its central idea of someone losing their very sense of self to an inexplicable force is even scarier.As one alien explains to Sakurai, Earth probably would not have lasted another 100 years anyway. At times today, with the morass of greed, selfishness and in-fighting plaguing us all, perhaps now is as good a time as ever for an invading alien force.