Chishū Ryū did not receive an Oscar nomination for portraying Shuhei Horikawa in There Was a Father.
Frequent collaborator of director Yasujirō Ozu, Chishū Ryū stars here and it is no surprise that he was so frequently cast as Ozu seeks the simple truths of life, Ryū's a performer who does the same with his wholly sincere and always authentic feeling presence. This is a film on the surface that is very muted, yet in that muted tone is what is so special, and what we also find within the ending of the film. For much of the film we follow Ryū's Shuhei as he raises his son with a simple dignity, however within the simple dignity of Japanese culture of the time where he must uphold certain values of consistent hard-work over the natural needs of familial connection. What then is the film as we follow the ease in which Ryū's creates really the conflict with this without actually ever denoting it towards more expected melodrama or even drama really. Ryū's delivery after all is one of calmness as he explains each time to his less understanding son of why the two must be so frequently separated, as he must pursue work while also having his son be raised. The two's presumed duties leaving them in this state of perpetual separation through the years. This as this film is one through years not days, a week or a month. We rather see the long extension of this practice as the father does what he believes is right by his son, and right by his family, which is two so commonly not be among him. As off-putting as this even seems as though it may be Ryū's performance is what makes it work, and creates this understanding within the logic of the father.
Ryū's delivery is of a calm passion towards the belief and speaks it as an expected truth. It is with a calm duty and an unassuming belief. It isn't something that he has randomly come up with, rather with Ryū he speaks it as though it was just speaking towards any responsbiltiy one would just assume is part of life. I am honestly surprised Ozu was able to get away with this film during World War II in Japan, given what for example Kurosawa's typical individualistic spirit was reduced to in The Most Beautiful. Although it is perhaps because while the text says one thing, and perhaps that is all potential government officials really read into this piece, this being that one should work hard in life, the subtext seems to indicate otherwise. Although Ryū's Shuhei repeatedly speaks one's devotion to work. That though would be ignoring the whole of it, which is every silent moment within Ryū's work. This as even as he doesn't speak his love towards his son, as they interact when he's a boy, to when he's a young adult, to an adult, but it is ever apparent in every moment of interaction in Ryū's performance. The happiness within Ryū's portrayal is of pure warmth when the two go fishing together or just speak towards one another in their home. It is with a gentle love that is simply the truth of their relationship. There is a sense of conflict in Ryū's performance even though it is never something that is emphasized specifically. It is rather within how much appreciation and pride we see in Ryū as he has his moments with his son. There are no moments where there is a more powerful sense of happiness then in these scenes. Again though the beauty of this work is that it is in the briefest of moments, such as his son attending to the shrine of his mother, we in just a look Shuhei's deep affection for his wife, and the love for his son in a singular moment. We see this as a truly loving father who embraces every moment of being a father with his son, while always being trapped within the beliefs of societal expectation. Again this where one could argue quite the subversion, as the true happiness of Shuhei's life and as expressed within Ryū's performance is when the father and son are reunited, not when he is elsewhere. Again though this is never spoken within the film rather in the silence, where there is the truth of it all. In turn we are also granted the classic devastating ending from Ozu that hits you in a way that is most unexpected, yet so palatable when it does. This isn't through theatrics however, it is rather through that calm. Here in really understanding this relationship, and seeing every intimate moment of connection, so wonderfully realized here by Chishū Ryū. We find the loss of the two's time apart not from a big speech to say this, but rather through every gentle reminder that the father and son simply love one another. Ryū's work not defined by every big scene, rather every quiet moment that reveals the moving intimate truth of this reserved man.
27 comments:
So it's Flynn next.
Bogart vs. Flynn for the overall victory
Louis: Ratings and thoughts on the cast.
Drive My Car winning LAFCA? I love to see that.
Watched the Hand of God...I think Sorrentino's just not for me. This might be my favorite film of his nonetheless, but that isn't saying all that much for me. Well shot and well scored though to be sure. I think I can never just get fully behind his particular eccentricities as a filmmaker(and to be fair there are filmmakers where I love their eccentricities). Here thought every time I thought I might be invested in this coming of age story it will swerve into some ridiculous degrading caricature, Auntie incest (seriously I think one can write a very detailed psychoanalysis on dramatists and incest at this point) or some random theatrics.
Anonymous:
Sano - 4(Provides the right other half of the pair later on in showing the son who is more open, yet also closed off in his own way in not ever disagreeing too much with his father's choices. You still get wholly that sense of love and disappointment in parts of the relationship. His final moments also are particularly moving in just the honest he brings in every second of it.)
Ah, wish you’d liked it more but at least it is your relative ‘favourite’ so it seems. The aunt section was actually one of my favourite bits of the film though, I completely get why it might put you off though.
Thoughts and ratings for the cast, and could I have your thoughts on the cinematography by Daria D’Antonio? Feels like even people who don’t care for the film think it’s gorgeously shot, and glad you concur on that at least.
Louis: Your thoughts on these TMWSLV scenes:
"Valance, Stoddard and Doniphon at the restaurant"
"School scene"
"Stoddard and Doniphon shooting the cans of paint"
"Valance beats up Peabody"
"Doniphon gets drink and burns his house"
"Doniphon tells Stoddard the truth"
Louis: Your top ten Owen Wilson and Luke Wilson acting moments.
Well, in getting into the christmas season, I did just watch two holiday films in a row...
The first was Ron Howard's "Grinch", which is a film I liked a lot more when I was younger than now. As an adult, I still admire Carrey's energy and commitment, but almost everything beyond him is annoying and/or needless filler.
The second was a 2019 animated film named "Klaus", which I watched for the first time and honestly enjoyed it a great deal. There are some familar plot points to be sure (Ex. Liar revealed), but the overall movie is funny, gorgeously animated and gives an interesting take on Santa's origin.
I saw West Side Story last night and adored. It’s already tied for my all time favorite musical so my standards were high, and it still managed to thrill me on almost every level.
Elgort: 2
Zegler: 4.5
DeBose: 5
Faist: 5
Alvarez: 4.5
Rivera: 3.5 (Ithaca College REPRESENT!)
Moreno: 4.5
My heart is still with Ruth Negga, my favourite performance of the year, but since at this point all I'm hoping for is a nomination, I'm extremely happy that DeBose is now our apparent frontrunner, she would be richly deserving.
I'm also probably in the minority thinking Alvarez was second best in show and wish he was getting more attention, having said that also glad to see Faist get a lot of love.
Louis, your 10 best Geoffrey Rush and Will Ferrell moments?
Calvin: I would be thrilled to see anyone other than You Know Who win an award for this movie.
your thoughts on the Screenplay, Direction and Cinematography of The Others?
Michael: Well, that goes without saying, down to the technical elements of the film (honestly Kamiński's best work in a LONG time).
Calvin:
Scotti - 4(Italian Chalamet here is tasked with the challenge of the director's surrogate who in a way isn't meant to make too much of an impression in a certain sense as we are seeing the man turning into the director he would eventually become. Scotti has one big scene, that he definitely delivers on effectively to be sure in just playing the blunt anguish of it. The rest of the time he gives a timid, though never less than good, portrayal of the young man just taking in his world as he does. I think he does often become part of the scenery in a certain sense, though never to the point that it feels improper for the character.)
Servillo - 4(In it less than I expected, though I did like his performance, however sort of the shades we got of the other things going on with his character feel cut short, perhaps purposefully. I did like his manner with his son though that has the right sort of joyful warmth about the man, while also though effectively realizing the darker shades of the character. Delivering well his explanations with this sort of sincerity less so as a shame for his act, but rather that he must explain it to his family.)
Saponangelo - 4(Similar to Servillo in bringing such an honest mother's warmth, though also similar in that her performance ends up being less than expected, or perhaps hoped. This as the strongest scenes for me were the direct parental interactions. Saponangelo bringing an effortless combination of that spirited love, but also the sense of distress with the problems that befall the family. Particularly enjoy her in the scenes with the sister, in showing the sense of concern but with this right sense of history of years of knowing how to deal with it in terms of the level of seriousness.)
Ranieri - 4(Although I didn't exactly love how the character was always used, particularly in terms of some literal framing which is some classic over the top art house gratuity if there ever was one, I did like her portrayal of the specific kind of madness of her character. This as she doesn't overplay the sense of the twisted, rather finding the sense of just not quite having the best grip with the reality.)
D'Antonio's cinematography is the entry into what is always Sorrentino's aesthetic used in The Great Beauty and Youth as well, that being trying to make his film as beautiful and picturesque in the most straight forward sense. This in grand scale shots of epic composition with pristine lighting befitting any fashion shoot. I think D'Antionio's work here is the best of the three, by far, in terms of realizing this in going so far in being beautiful and pristine, however avoiding what feels a bit of the intensity to the point of artifice that I feel was present in the previous two to an extent. Here though it is certainly just absolutely beautiful and grand.
8000's:
That's a lot of scenes, but I have no hesitation from talking about a film that only goes up in my estimation the more I think on it (honestly so much of the praise the Searchers get, should go to this film).
Restaurant - (I mean one of the all time great "hero" vs bandit showdowns with the bulling of Valance to Stoddard, before Doniphon stands up. What is key is Doniphon's standup is more so against Valance than standing up for Stoddard. And in that you have really a twist on it, as expected as it is, with Stewart portraying the distress of what should be civilized humanity, against Wayne showing the vicious ways, even if seemingly heroically here. What I love about the scene is how dominating Wayne is, and in Marvin's reaction that shows Valance is in no mood to test Doniphon even slightly.)
School - (I think you get shades of why it is a shame Strode never could fully break out, despite attempts, as even in the broken response he grants dignity of his character still. The scene itself though is a great example of how to do exposition in it is naturally showing Stoddard teaching as he wanted, but in doing so creates the understanding of the stakes in a natural way.)
Shooting practice - (Great scene as you get the idea of two kinds of strength, there is Doniphon's of confidence of his skill, against Stoddard, whose strength is through sheer will. This as not taking the honest abuse from Doniphon, and going for that punch, with that pitch perfect reaction of Wayne that is of genuine admiration.)
Beat down - (Here where you get in just directly that Valance is just a brute and not some romantic outlaw in any sense. This as the beat down is just vicious particularly in Marvin's performance.)
House burning - (Best cinematography in the film caught in the moodiness of focusing only on the fire. Also though anyone who does the whole "Wayne can't act" line, only need to see his reaction in that moment. Wayne's face conveying so much in the sense of defeat in the man, even though he technically had just "won" by performing the titular act.)
The Truth - (And here you just get the brilliance of the film, as Doniphon is burdened by the truth and Stoddard by the lie in the scene, both living really in a violation of their codes, Doniphon in standing right up to a man and Stoddard in resorting to violence, however both having done what can only be described as a good and necessary act in causing the death of a fiend. And here is how you do conflict, this as both men are burdened by what has happened, in a way against what has happened, but must both do what is the "right thing" in this twist of fate.)
Anonymous:
Owen Wilson:
1. Escape Plan - Bottle Rocket
2. No Answer - The Royal Tenenbaums
3. Breaking Loki down - Loki
4. Jet ski dream - Loki
5. "I'm gonna die" - Shanghai Noon
6. Calm interrogation - Loki
7. One shot - Shanghai Noon
8. What if Custard didn't die - The Royal Tenenbaums
9. Farewell - Loki
10. Bandages - The Darjeeling Limited
Luke Wilson:
1. Suicide - The Royal Tenenbaums
2. Learning of the affair - The Skeleton Twins
3. Truth to Royal - The Royal Tenenbaums
4. With Margo in tent - The Royal Tenenbaums
5. Translated Love - Bottle Rocket
6. Jail picnic - Bottle Rocket
7. Failed tennis match - The Royal Tenenbaums
8. Romancing - Bottle Rocket
9. Arm loss twice - Anchorman
10. Not invited - Rushmore
Ytrewq:
I've done rush before.
Ferrell:
1. Evil boss - SNL
2. The Devil - SNL
3. After the battle - Anchorman
4. I want you - Stranger Than Fiction
5. The Battle - Anchorman
6. They're all the same LOOK! - Zoolander
7. Very badly burned - Austin Powers
8. At his dramatic end - Anchorman
9. Phone call dog - Anchorman
10.It's just a model - Zoolander
Tim:
The screenplay is the film's weakest point as it feels like it is just stepping around ideas rather than fully exploring them. The ideas of the ghosts don't quite reach towards a thematic truth in say the way they do in The Innocents, and what those ghosts mean to the governess and the children. Here you kind of have an idea, but not quite wholly. The husband element in particular feels just like a half thought idea that isn't quite there. I'd say every facet from what the servants are, to what the old women is, to the main characters are on the border of something brilliant, but don't quite reach it as written.
I saw Nightmare Alley. It does feel pretty slow and drawn out, but I still thought it was effective overall. Definitely another strong directorial effort on Del Toro's part.
Cooper - 4/4.5
Mara - 4
Blanchett - 4
Strathairn - 4
Collette - 3.5
Dafoe - 4/4.5
Everyone Else - 3
Louis: What are some performances that took years, maybe even 4+ rewatches for you to fully appreciate how great it was?
Michael: I actually would give Alvarez a 5 after my second viewing. He is so damn good at giving warm, loving looks to the people he actually cares about. Puts Chakiris to absolute shame.
Robert:
Although most of these are going from believing they're good to full appreciation of greatness.
Hmm...Stephen Rea (The Crying Game), Sterling Hayden (Dr. Strangelove), Paul Newman (Hud), Richard Dreyfuss (Jaws), Bob Hoskins (Who Framed Roger Rabbit), John Hurt (The Elephant Man), Simon Pegg (Hot Fuzz)
Louis: Thoughts on The Northman trailer.
Random note, here: I just started watching "Justice League Unlimited" today and...where has this series been all my life! I'm really enjoying it.
Louis: Your full thoughts on William H. Clothier's cinematography in TMWSLV. Supposedly Ford shot the film in B&W because he felt the confrontation between Valance and Stoddard wouldn't have looked that good in color.
The Worst Person in the World is out online now in case anyone wants to check out one of the best films this year and a likely International Film contender (also, Renate Reinsve is my win for the year, great choice by Cannes, and I suspect Anders Danielsen Lie will be saved for a review).
8000's:
The cinematography really is key to the overall choice of the film to make what is a bleak, and in many ways pessimistic western. This as Ford's setting here is not the vast monument valley, rather it is a claustrophobic and moody place. You feel stuck within the place rather in the expanse of it, and the compositions and framing of shots only reaffirm this all the more. The lighting itself is more noir than western, particularly in that finale, which is all about the glimpses of light, not the whole of it, and in turn creates a different dynamic in the face off than if it was in color, even if it had been lit light how many of Ford's other black and white westerns are.
Luke:
An amazing trailer as Conan the Barbarian meets Hamlet, I'm intrigued beyond belief, though I will say I have a feeling it is probably somewhat misleading.
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