1970s List Discussion and Suggestions (Lists Project Vol. 2)

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Scharphedin2
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1970s List Discussion and Suggestions (Lists Project Vol. 2)

#1 Post by Scharphedin2 » Mon Nov 05, 2007 3:28 pm

Following from the Yoshishige thread, and based on Steven H's comment that Yoshshige Yoshida's eminent Eros Plus Massacre (1969/1970) according to some sources initiaties a loose trilogy followed by Heroic Purgatory (1970) and Coup D'Etat (1973), I viewed the latter film last night.

The visual beauty of the black and white scope photography, and the fascinating thematic density of Eros Plus Massacre has been covered in several places in the forum, most recently by zedz in the 1960s discussion thread. If I had to sum up Eros in a few words, it would be as an exploration of gender and sexual politics in Japanese culture from the present (late '60s) to the Taisho era (a short period of the teens and twenties, when Western and Japanese fashions and ideas mixed, and a general air of liberalism characterised Japanese society), with the film moving back and forth between these two time periods, and even having the two confront and superimposed on each other. Coup D'Etat is on the face of it a much more accessible film, concerning a group of right-wing fanatics, who stage a plot to overthrow the government. Central in the film is a Professor, whose ideological works have served to inspire this group, and whose brother dies for its cause early on, forcing to Professor to take a stand himself.

The first thing that struck me about Coup D'Etat was again the images. In this film, Yoshishige utilized the standard academy ratio, however, like Eros this is one of those very rare films, where just about every single frame of the film could be lifted out and appreciated for its qualities of composition alone. Yoshishige constantly utilizes forced perspective to direct the viewer to what is important within the frame and to establish relationships between different characters; he relishes the use of creating frames within the frame, whether it be in shooting through archways, windows, doorframes, or by shooting over the shoulder or past the profile of actors. In those instances, where the camera moves, it is most often with a character, and the careful framing and composition is retained. The film is simply visually gorgeous, and the story it tells is fascinating (even, I think, if one is not necessarily interested in Japanese history/politics).

The investigation of the Japanese past with the aim of understanding and drawing parallels to the present is clear in both these two films, and it easy to see, how they could be construed as being part of a cycle. My project will now become how to chase down a copy of Heroic Purgatory (subtitled or not). If it is anything near as good as Eros and Coup, I am fairly certain that I will have three films by Yoshishige on my '70s list.

I thought this a fitting way to kick-off the '70s discussion and suggestions thread. Hopefully those who know Yoshishige's work better than I (Steven, zedz) will add further to my attempt at an appraisal.

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Steven H
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#2 Post by Steven H » Mon Nov 05, 2007 4:49 pm

Scharp, Eros Plus Massacre is definitely one of my favorite films, and I'm really glad its coming up more and more on the forum. Oh, and its definitely 1970, I had written the wrong date down in a notebook somewhere, and it will be firmly atop my 70s list.

One of the things that really strikes me about this film is how rewatchable it is, and open to so many different interpretations. It's also surprising how interested I am in the drama of the past and present in the film, especially considering all the distancing that's being done. Both the anarchist past and nihilist future have enough character development, as abstract as it may be, to be entertaining, though holes are continually driven into this (especially with the nihilist future characters constantly referring to film, and film making.)

There are a hundred brilliant scenes, but the one that really sticks out for me is where Okada leaves her home in the Taisho era, rides a bullet train to Tokyo, and when she arrives, it doesn't really become the past, but it does. To say "artifice is laid bare" in this film is a huge understatement, but its still a mystery. I love that it starts with a disclaimer about not identifying with characters or becoming too vested in the story itself.

There aren't many people to compare Yoshida to. Only this film really approaches that Resnais style of temporal question marks, but others play with chronology and editing in interesting ways, nothing as brazen as Eros Plus Massacre though. Antonioni is brought up a lot, especially concerning his melodramas, which are great (all starring his wife, Okada Mariko.) I want to know more about his radical student type films in the early 60s, especially Roku-denshi (AKA Good-for-Nothing, which the nihilist boy calls the middle aged film Director in Eros Plus Massacre after he walks in on his canoodling at the hotel.)

And yeah, some of those shots are jaw dropping. Osugi and Ito walking through a cherry blossom grove while Osugi reads his poem about the state having murdered his friends is unforgettable. And the full frame is used mesmerizingly in Coup d'etat (which has a great score, very reminiscent of Mujo, actually.) Heroic Purgatory is also full frame, and maybe a little more radical in design than Coup d'etat (I don't have enough of a clue as to what's going on in it to really compare, unfortunately.)

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#3 Post by zedz » Mon Nov 05, 2007 5:15 pm

That was quick. I just rewatched The Man Who Left His Will on Film, so I guess I'm slipping into the 70s as well, but I need to process that film a bit more before writing about it. It's my current favourite Oshima, anyway.

I'm toying with the absurd notion of working chronologically through Fassbinder for this decade, since it's a body of work I still can't quite get my mind around, and so much of it is available. Maybe Altman too, which should be much less daunting.

My first recommendation, though, has to be The Hired Hand, as far as I'm concerned the greatest American film of the decade. It's one of the most exquisitely beautiful films ever shot, but its extreme aestheticisation (also expressed through constant, ambitious optical-printing montages) is underpinned by a startling toughness, not just in the sporadic violence, but in its unprecedented (and scarcely followed-up) frankness about female sexuality.

It's a simply magical confluence of talents and opportunities. Key, I think, is the fact that you've got three almightily ambitious first-timers in the main creative positions - Frank Mazzola as editor, Vilmos Zsigmond as DP and Peter Fonda as director - none of whom assumed they'd get a second chance, and thus threw everything they had (and much that they probably didn't know they had) into the film. Actually, Bruce Langhorne's score is so original and central you could probably add him to the equation as well.

Warren Oates is at his best (reason enough to see the film), Fonda is so far beyond his best you won't believe it (it's a performance that ranks with his father's greatest), and Verna Bloom gives what's a strong contender for the finest female performance in American cinema of the era - it's almost certainly the finest female role.

There are two editions available, and I assume they have the same gorgeous transfer, but go for the special edition, with its commentary and making of. After watching the film you'll want to know how the hell something so unique got made by a Hollywood studio, and even the outrageously off trailers (which try to pitch the film as "Easy Rider II") are worth an appalled glance.

I can't overstate the phenomenal beauty of this film. I feel like I need a special font or something. Just see it. Who knew that Peter Fonda was one of the great American directors? Charles Laughton great.

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#4 Post by Scharphedin2 » Mon Nov 05, 2007 6:56 pm

zedz wrote:...I can't overstate the phenomenal beauty of this film. I feel like I need a special font or something. Just see it. Who knew that Peter Fonda was one of the great American directors? Charles Laughton great.
Well, you stated it clear enough for me to go and blind buy the film. I should add that the two versions that Showtime released in the States are apparently no longer in print. However, the film was released in the UK by Tartan with the same extras (as far as I could tell), so I just ordered it from Bensons.

I would really like to do the Fassbinder run as well, however, unless we go for longer intervals between these lists (as suggested in the main lists thread), I know I will never get to it with the amount of work that the man produced in the '70s.

And, so The Man Who Left His Will On Film is the number one Oshima now!? I can't wait to see it. I have it on my shelf along with Boy and Ceremony still to be seen. It is difficult for me to believe that he could top the masterpieces of the '60s. And, even more amazing that he would have dropped off so dramatically toward the end of the decade then. Do you have any theory on that, zedz?

Another strange little '70s film that I have always looked forward to seeing is Hopper's The Last Movie, which I finally tracked down quite a decent broadcast/VHS of. From what I have read, the film sounds absolutely crazy... made in a haze of drug-induced euphoria, and with Hopper calling in Jodorowsky at the end of it all to help him wrap things up. On my old laserdisc of Wenders' The American Friend, there was an interview (if I remember correctly), where Hopper would talk about a stunt he did in the film called something like "the suicide chair" -- in others words, he placed himself on a chair within the circle of a series of dynamite charges, and set them all off at the same time; the trick being that no harm would come to him if all of them detonated simultaneously, but if several of them did not go off, the pressure would somehow suck him into the explosion or something of the sort.
Steven H wrote:Scharp, Eros Plus Massacre is definitely one of my favorite films, and I'm really glad its coming up more and more on the forum.
I really give you full credit for bringing Yoshishige to me, Steven. I remember having leafed through Desser's book years ago in a bookstore, but never heard of Yoshishige before or since, until I joined the forum and read your enthusiastic remarks about his work. Now that I have finally seen a couple of them, I can't wait to see more, and I think a boxset of the three films discussed above would probably be the holy grail of DVD releases for me at this moment. Aside from the films being so incredibly engaging cinematically, these films more than just about any others I can think of would benefit from contextual information. Probably, one strong reason in this case for the films having not been more widely seen in the West is the fact that they are so engaged in the dialogue with recent Japanese history and identity, as to make them almost imcomprehensible to an audience without some prior knowledge of Japanese culture.

Please continue to rave about all these "unknown" Japanese films. I am sure many more people than you think are inspired to go and seek these films after reading your posts. I just read your comments (and tryavna's) earlier tonight on Kihachi Okamoto, and now I just know that I have to get around to viewing his films sometime soon. This is what is so excellent about this forum; it is a constant motivation to go and see new films (I am a strong believer in "the canon," but let us constantly test and expand upon it!).

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#5 Post by zedz » Tue Nov 06, 2007 12:16 am

Scharphedin2 wrote:
zedz wrote:...I can't overstate the phenomenal beauty of this film. I feel like I need a special font or something. Just see it. Who knew that Peter Fonda was one of the great American directors? Charles Laughton great.
Well, you stated it clear enough for me to go and blind buy the film. I should add that the two versions that Showtime released in the States are apparently no longer in print. However, the film was released in the UK by Tartan with the same extras (as far as I could tell), so I just ordered it from Bensons.
Well, I amped it up, but I think the film can bear it. I picked up the US special edition very recently (last couple of months) from DVD Pacific, so there are probably still copies out there if you look around.
And, so The Man Who Left His Will On Film is the number one Oshima now!? I can't wait to see it. I have it on my shelf along with Boy and Ceremony still to be seen. It is difficult for me to believe that he could top the masterpieces of the '60s. And, even more amazing that he would have dropped off so dramatically toward the end of the decade then. Do you have any theory on that, zedz?
There was a thread about this somewhere around here. I think it was called "Japanese Films in the 70s" or something. I whined about how so many great filmmakers had a decline in output and quality and various better informed people told me to pull myself together. Probably a good source for 70s suggestions. Notwithstanding my whining, the tail end of the New Wave produced much great work in the first few years of the decade (e.g. the Oshimas, Mujo, Coup d'Etat, Ecstasy of the Angels and way too many I've never seen)

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#6 Post by Michael » Tue Nov 06, 2007 9:33 am

Some of my 70s favorites:

Pink Narcissus - A dreamy, glittery pink confection of a hustler slipping in and out of fantasies. Images always staggering and powerful. Perfect.

Lisa and the Devil - Bava's Vertigo. Bava with his complete creative freedom gave us one of the most unique, personal and beautiful dream worlds ever filmed. You will get caught in the film's spell as much as Lisa does. European curses and spirits roam about American stars.. if you like INLAND EMPIRE with its weird, illogical dimensions, then this is the film for you.

The Honeymoon Killers - A very unexpectedly moving film. It's a step up from the "lovers on the lam" classics - Gun Crazy and Bonnie and Clyde. It also offers a fascinating, sympathetic look at a fat woman with zero self-esteem and nothing to live for except for that sleazeball. And all at the same time, the film remains thoroughly gritty and creepy.

Female Trouble - John Waters' masterpiece.

Suspiria - Argento used up what was left of Technicolor and created one of the most beautiful atmospheric horror films ever made. I've been watching this film every year since I was a little boy and it remains strikingly beautiful every time. A gem of its own.

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#7 Post by GringoTex » Tue Nov 06, 2007 10:30 am

Pimping Peckinpah: Outside of Fassbinder, I think Peckinpah had the greatest 70s output of any director, but he only had one film (Straw Dogs) on our previous 70s list. Other standouts are Junior Bonner, Ballad of Cable Hogue, The Getaway, and Cross of Iron.

And Bring Me the Head of Alfredo Garcia will most likely top my 1970s list. I love it when a veteran master with nothing left to lose is given the complete freedom to engage his most personal subject matter. There's so much confidence in Peckinpah's direction here, the result is an almost insolent mise-en-scene. Nobody loses all the time! - Peckinpah was never so sure of anything in his life.

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#8 Post by Michael » Tue Nov 06, 2007 10:37 am

And Bring Me the Head of Alfredo Garcia will most likely top my 1970s list. I love it when a veteran master with nothing left to lose is given the complete freedom to engage his most personal subject matter. There's so much confidence in Peckinpah's direction here, the result is an almost insolent mise-en-scene. Nobody loses all the time! - Peckinpah was never so sure of anything in his life.
I totally second that. No argument. Amazing work.

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#9 Post by Dylan » Tue Nov 06, 2007 2:31 pm

Although certainly not a complete list of what I want to see from this decade, here are a few I'll consider viewing, many of which I've been meaning to see for years (and for many of these, inevitably, one can only see the film via a VHS/bootleg...unless some of these surface on DVD in the next few months):

Face to Face (Bergman), Looking for Mr. Goodbar (Richard Brooks), Claire's Knee (Eric Rohmer), Brewster McCloud (Altman), Donkey Skin (Demy), The Go-Between (Losey), Investigation of a Citizen Above Suspicion (Petri), The Landlord (Ashby), The Ear (Kachyna), El Topo (Jodorowsky), Husbands (Cassavetes), La Rupture (Chabrol), Little Murders (Alan Arkin), The Devils (Russell), Klute (Pakula), Sunday, Bloody Sunday (Schlesinger), Taking Off (Forman), The King of Marvin Gardens (Bob Rafelson), Scarecrow (Jerry Schatzberg), Bang the Drum Slowly (Hancock), O Lucky Man! (Anderson), Céline and Julie Go Boating (Jacques Rivette), Stavisky (Resnais), A Woman Under the Influence (Cassavetes), Going Places (Blier), L'Innocente (Luchino Visconti), Cría cuervos (Saura), Providence (Resnais), The American Friend (Wenders)

That's a good start.

From this week on I'll start to track the 70's films I watch until the due date for the list, and post my thoughts here. Should be fun.

I'll share some of my own recommendations a little later.

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#10 Post by zedz » Tue Nov 06, 2007 3:59 pm

GringoTex wrote:Pimping Peckinpah: Outside of Fassbinder, I think Peckinpah had the greatest 70s output of any director, but he only had one film (Straw Dogs) on our previous 70s list. Other standouts are Junior Bonner, Ballad of Cable Hogue, The Getaway, and Cross of Iron.

And Bring Me the Head of Alfredo Garcia will most likely top my 1970s list. I love it when a veteran master with nothing left to lose is given the complete freedom to engage his most personal subject matter. There's so much confidence in Peckinpah's direction here, the result is an almost insolent mise-en-scene. Nobody loses all the time! - Peckinpah was never so sure of anything in his life.
Peckinpah is one of my favourite directors of the period. Even when I don't particularly like the film as a whole (and you have to be pretty fanatical to get much out of The Killer Elite or Convoy) I just love watching his technique at work. Last time, though, only Junior Bonner made my list, so this is another strong candidate for a chronological revisit (and it's a much more manageable project than Fassbinder or even Altman).

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#11 Post by Macintosh » Tue Nov 06, 2007 5:07 pm

Zedz, thanks for the positive words on The Hired Hand. Been praising that myself since i saw it a few years ago. And The Man Who Left his Will on Film is also my current favorite Oshima, but i really need to get my hands on his Shonen. A article in The Guardian, makes it out to be great.

And what about Electra Glide in Blue? Nominate James William Guercio as one of the best first time and only time directors, right up with Laughton. The anti-Easy Rider ending, the pro-authority attitude when it was made makes it seem even more striking. It was booed as a fascist film when it screened in Cannes.

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#12 Post by Scharphedin2 » Tue Nov 06, 2007 5:52 pm

A walk through of Peckinpah's '70s films could also very easily be on my agenda. His films of the sixties are films that I relatively often go back and view single scenes from (for much the same reason that zedz points out, but also for those moments of inexplicable emotional resonance that take place outside of the main and memorable sequences -- like Holden twisting his foot in the stirrup at one point in Wild Bunch, and subsequently riding over the next dune, hunched over his horse, or, that beautiful moment with Slim Pickens in Pat Garrett, etc.)

That said, when I did have the chance to finally see most of Peckinpah's '70s work a few years back, I thought that entertaining and cinematically exciting as the films were, I did not feel anywhere near the power in these works that the '60s films had (aside from Pat Garrett, and possibly Cable Hogue -- which I have yet to actually see). Then again, maybe these films will look different to me now, 7 or 8 years later.

Yet another director that I would love to go back and do the chronological viewing of is Werner Herzog. I saw Aguirre and the novella film Great Ecstasy of Woodcarver Steiner back in the mid-'80s, and the first impression of these two films have never left me. It really is one of the most powerful film experiences that I have ever had, but then I was very young and had not seen much to weigh the impression against -- a revisit is way overdue. A short time later I saw Nosferatu and Fitzcarraldo, and of course for a while Herzog was the patron saint of filmmakers for me (again, I wonder how these films will hold up for me today).

Several other Herzog films of the decade came out in the early days of the DVD medium from Anchor Bay -- Kaspar Hauser, Heart of Glass, Stroszek and Woyzek (along with Cobra Verde, My Best Fiend and Even Dwarfs...). I gobbled them, as fast as I could find the money to buy the discs -- the only ones that did not really make a great impression on me at the time were Woyczek and Cobra Verde; everything else I thought of very high and consistent standard.

Generally, I just find Herzog's universe fascinating, but I also realise that I have seen none of his work (new or old) in the past 6 or 7 years, although I probably own just about every film he ever made at this point. The '70s list really would be the time to go back and see Herzog's work again.

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#13 Post by zedz » Tue Nov 06, 2007 6:57 pm

Scharphedin2 wrote:Generally, I just find Herzog's universe fascinating, but I also realise that I have seen none of his work (new or old) in the past 6 or 7 years, although I probably own just about every film he ever made at this point. The '70s list really would be the time to go back and see Herzog's work again.
And don't forget to include the documentaries: they layer up with the features beautifully, and with something like Fata Morgana it's hard to tell just which you're looking at. I recently rewatched Land of Silence and Darkness, and it's superb, one of the best films ever made about empathy, and essential viewing alongside Every Man for Himself and God Against All.

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#14 Post by Scharphedin2 » Tue Nov 06, 2007 7:01 pm

zedz wrote:
Scharphedin2 wrote:Generally, I just find Herzog's universe fascinating, but I also realise that I have seen none of his work (new or old) in the past 6 or 7 years, although I probably own just about every film he ever made at this point. The '70s list really would be the time to go back and see Herzog's work again.
And don't forget to include the documentaries: they layer up with the features beautifully, and with something like Fata Morgana it's hard to tell just which you're looking at. I recently rewatched Land of Silence and Darkness, and it's superb, one of the best films ever made about empathy, and essential viewing alongside Every Man for Himself and God Against All.
Actually, I have had that monolithic collection of Herzog's docos and shorts staring at me from my shelf like a guilty conscience for more than a year now, and just have not had time to dig into it... again, the lists project hopefully will provide the needed impetus. Did you mention something about extending the deadline? :D

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#15 Post by zedz » Tue Nov 06, 2007 7:22 pm

Scharphedin2 wrote:Did you mention something about extending the deadline?
I don't care when it happens, so if you want to lobby for it in the main thread you're welcome to do so. Nobody seems to have taken the bait about the timing of the 2000s thread, but it's understandably difficult to think that far ahead.

I'm prepared to take silence from everybody else as assent if you want to propose a later deadline.

As for Macintosh's suggestion of Electra Glide in Blue, it's a very impressive only film, and I urge people to check it out, but it isn't a personal favourite. It's completely different from The Hired Hand, but both could be considered as reactions against Easy Rider (a mediocre film that continues to be lionised while these two languish in obscurity).

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#16 Post by Cold Bishop » Wed Nov 07, 2007 4:18 am

This looks like it will be the first list I contribute, after opting out of the 60s list....

And as long as we are talking about Japanese film of the decades, I must mention Shuji Terayama, who has already been discussed to some length on this forum. I have always considered him the most underrated of filmmakers, and his films never cease to move and amaze me with the lyricism and poetry of his images and symbols. Both Pastoral: To Die In The Country and The Grass Labyrinth are certainly going to be my top two darlings, and I'm almost certain that the former will be making my top 10. Phantasmagorical is the only word I can think to describe his films, and the only comparable filmmakers and films I can think of are Sergei Paradjanov, the Fellini of Juliet of the Spirits and Satyricon (with a touch of Amarcord), Valerie and Her Week of Wonder, some of Jodorowsky, ect. but even that doesn't do justice to the originality and poetry of Terayama's images.

Pastoral is officialy unavailable but can be found on bootlegs at various places (including supperhappyfun and allcluesnosolution) or online. It's in my opinion easily the best Japanese film of the decade, although I haven't seen the other three major contenders: Yoshida's Eros Plus Massacre and Oshima's The Ceremony, and from the sounds of it, The Man Who Left His Will On Film. It's a great example of the film as exorcism, with Terayama directly confronting his adolescence, and the film is an absolute masterpiece. It's pure Magical Realism, with a little bit of Brecht and Surrealism thrown in for good measure. (In fact, if any films deserve to be called Magical Realist, its the loose trilogy I've always considered by these two films, and climaxing with Farewell to the Ark his breathtaking adaptation of One Hundred Years- one of my major 1980s darlings)

Grass Labyrinth is available as part of Private Collection (nevermind the softcore euro-erotica, Terayama's film makes up for it all) but I'd really suggest tracking down the individual film, also available like Pastoral on bootleg, since it omits the french voice-over, and in my opinion, works better by itself, instead of sandwiched between Jaeckin's awful entry, and the usually-delightful Borowczyk's average one. It's a pure psycho-sexual fever dream, and its arguably as great as Pastoral. Had I contributed a short lists, this would have easily made number one, even above things like La Jetée, Scorpio Rising, Un Chien Andalou etc. I really think its that great.

I have yet to see Throw Away Your Books, Rally In the Streets or all his shorts, but if any are even half the films as these two, they'll also be strong contendors for the list.

And as along as were talking about this, does anyone have any tips on how to see Fassbinder's Despair, The Emmigrants/The New Land, The Mother and the Whore, Hugo Santiago's Les Autres (with an original screenplay by Borges and Bioy-Casares) or any Robbe-Grillets of the decade.
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Steven H
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#17 Post by Steven H » Wed Nov 07, 2007 11:18 am

I love Pastoral, but I wish the poetry wasn't impenetrable for me (the written words that appear.) Very Very good film, and fantastic use of full frame color cinematography. I've enjoyed all of Terayama's feature films, but this one is my favorite.

Also, you bring up Oshima's The Ceremony, which is going in my top ten for sure (I really want it to share the number 2 spot with The Man Who Left His Will On Film.)

You can find DVDr rips of an english subbed VHS for Eustache's The Mother and the Whore around (that and Mes petites amoureuses will be making my list.) Actually (maybe especially for Eustache fans) there's a really interesting 70s french film called Un homme qui dort (The Man Who Sleeps) which was directed by Bernard Queysanne (who went on to do crap) and basically is just George Perec's novel transformed (he collaborated, to what extent I'm not sure). This film is very unique, and has the feel of a lot of modern eastern cinema, with a disconnected voiceover and gorgeous black and white cinematography (1974) setting the mood.

Another Japanese director that made some great flims in the 70s is Kuroki Kazuo, whose Assassination of Ryoma (the same historical character that Shinoda's Assassination is loosely based on) and Preparations for the Festival are gorgeous, unforgettable films. Lots of fantastic Shinoda Masahiro material to choose from as well.

Kobayashi Masaki's heavily underrated Inn of Evil (which I believe translates directly as "We Give Our Lives For Nothing", a much more evocative title) shouldn't be too hard to find with a google search or two (there's a fansubbed version around.) Katsu, Nakadai, and Sato Kei star, brilliantly.

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#18 Post by Michael Kerpan » Wed Nov 07, 2007 11:56 am

I am afraid my knowledge of Japanese 70s cinema is woefully deficient. There are way too many unseen films of great importance.

Of what I have seen, I'd say at least two Yoji Yamada films merit a place -- Kazoku (1970) and Kokyo / Home From the Sea (1972). The former is (sadly) unavailable with subs, but the latter has a passable release by Panorama (HK). His "Yellow Handkerchief" is also a contender.

My favorite Shinoda film of the decade is "Ballad of Orin" -- certainly one of the most visually beautiful films by anyone during the decade (thanks to Miyagawa).

I have not yet seen Imamura's two 70s documentaries -- but "Vengeance Is Mine" is a given.

Bunuel, Rivette and Herzog will suck up a lot of spots on my list, I'm sure. Most Godard of the decade remains unseen -- but "Tout va bien" could be a contender.

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#19 Post by colinr0380 » Wed Nov 07, 2007 11:59 am

Michael Kerpan wrote:Most Godard of the decade remains unseen -- but "Tout va bien" could be a contender.
Don't forget Letter To Jane!

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#20 Post by Michael Kerpan » Wed Nov 07, 2007 12:04 pm

colinr0380 wrote:Don't forget Letter To Jane!
I can NEVER forget this -- or forgive it. It holds the distinction of being the one Godard product I despise even more than "Week End".

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#21 Post by GringoTex » Wed Nov 07, 2007 12:21 pm

zedz wrote: I recently rewatched Land of Silence and Darkness, and it's superb, one of the best films ever made about empathy
My favorite Herzog. I can't stomach his 70s fiction films anymore. They used to awe me, but I rewatched Aguirre and Fitzcarraldo awhile back and found them heavy-handed, self-important and ponderous.

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sidehacker
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#22 Post by sidehacker » Wed Nov 07, 2007 3:59 pm

Mr. Kerpan, you should check out Oshima's Shonen if you haven't. That and The Ceremony definitely seem like something you'd dig. Both are a lot more formal and contemplative. The former is definitely one of his very best. I suppose some caution should be taken when a stranger recommends you a film, though...

Great to see Terayama getting some respect. I've been championing Throw Away Your Books, Rally in the Streets for a long time now. I don't get the Fellini comparisons, though. His debut reminds me more of early-WKW than anything else. Then again, I have yet to see anything else he's done.

Still need to see some Yoshida. I'll probably get around to him soon since I'm completely in love with Mariko Okada. Let me throw another Japanese new wave name out there: Koji Wakamatsu. I've seen six of his films and they're all very hit or miss. He's completely fantastic when he's on the top of his game. I especially recommend Sex Jack and The Embryo Hunts in Secret. Anyone else a fan?

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Michael Kerpan
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#23 Post by Michael Kerpan » Wed Nov 07, 2007 4:40 pm

sidehacker wrote:Mr. Kerpan, you should check out Oshima's Shonen if you haven't. That and The Ceremony definitely seem like something you'd dig. Both are a lot more formal and contemplative. The former is definitely one of his very best. I suppose some caution should be taken when a stranger recommends you a film, though...
In theory, your advice seems sound. Alas, as it turns out -- I've actually seen both of those. For some reason (not yet deciphered), it seems that Oshima's films rub me the wrong way.

In any event, I am much more the Yoji Yamada type. ;~}

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Steven H
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#24 Post by Steven H » Wed Nov 07, 2007 4:45 pm

I've thrown a few Oshima at Michael, and nothing sticks! But keep trying, I say. I still need to see Dear Summer Sister, even if I don't have high hopes for it.

Very interesting comparison with early WKW and early Terayama. I think the Fellini comparisons are more for post 8 1/2 stuff and the surreal aspect they share. I think its much more appropriate comparing him to Jodorowsky, but even there you're missing something. From what I've read, there might be a couple of Polish directors that share some of his sensibilities as well.

I've been trying to wrap my head around Wakamatsu's films for a while, since they're *unforgettable* but I have a hard time describing why I like them. Two from the 70s that I definitely enjoyed were Shinjuku Mad and Ecstasy of the Angels (though my favorite is from the 60s, Go Go Second Time Virgin.)

Go find some Yoshida stuff! Almost everything he did has Okada in it, and she certainly brought out the best in him. Check out his Ozu exorcism Confessions Among Actresses (hell, it even starts with a film set and a lighthouse a la Floating Weeds in the same detail, for godssakes.)

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Steven H
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#25 Post by Steven H » Wed Nov 07, 2007 4:47 pm

Michael Kerpan wrote:In any event, I am much more the Yoji Yamada type. ;~}
Speaking of which, his Home From The Sea is a great 70s film to check out, for those interested.

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