Roslindale Monogatari

Keduldo urichurum / The Black Republic (PARK Kwang-su, 1990) Park was one of the founding fathers of Korea's "New Cinema" of the 1990s. While his first film, Chilsu and Mansu , touched on political matters, Black Republic was his first film to openly confront the turmoil (and devastation) of the political oppression and violence of the 1970s and 1980s (especially in the wake of the Gwangju Massacre in 1980). Censors did insist on removal of most of the flashbacks that actively linked the protagonist's present with his past and filled in the gap between 1980 and 1990. But the implicit links that remain are fairly clear, even for someone as inexpert in Korean history as myself. The story here centers on a political activist (played by MOON Sung-keun ), who has flitted from place to place, remaining "in hiding" for a decade following the Gwangju Massacre. By using a series of false names and identification papers, and restricting himself to life in small pr

The Secret of Roan Inish (John Sayles, 1994) Some films, it seems (eventually) wear out their welcome. Roan Inish has been a long-time family favorite. We bought it when it came out on video -- and when we got our first DVD player, it was one of our very first DVD purchases. Our family revisited the film, for the first time in a few years, and discovered (to our dismay) that the film is staring to seem a bit frayed at the edges. The underlying story was enchanting, and many images remained magical, but the talking went on and on sometimes, for much longer than was needed. It was as if Sayles wasn't willing to fully trust the power of his own pictures. On too many occasions, Sayles' words distracted us from his film. On looking for images to capture from the DVD, I saw something I'd never consciously noticed when watching the DVD on television. Namely, that this is not a terribly good DVD -- and that the print used to make the DVD had apparently undergone color shifti

Wu wei shen tan / Loving You (Johnnie To, 1995) LAU Ching Wan creates one of his best roles for Johnnie To in this tale of a policeman pursuing (and pursued by) a vicious drug dealer (CHUNG Hua Tou). The film starts with a drug bust gone awry (due in part to shoddy equipment) that results in the execution of an undercover policewoman by Chung. Lau, as it turns out, is a reasonably dedicated police team leader -- but a total jerk on the personal level, both to his subordinates and his wife (Carman Lee). His indifference (and philandering) have pushed her into the arms of one of her colleagues at work. Just as she makes up her mind to leave Lau, he is shot in the head by his nemesis (though he captures Chung nevertheless). While Lau survives the shooting, he is incapacitated for a long while and -- when he is well enough to notice -- he discovers he has lost his senses of taste and smell. His wife, impelled by a sense of a duty, has helped care for him during his recovery, putting

Meito bijomaru / The Famous Sword Bijomaru (Kenji Mizoguchi, 1945) All Mizoguchi films have moments of cinematic magic -- and this one is no exception. Nonetheless, this film probably has less of such moments than any of the other surviving feature films. The script is lumbering. An apprentice swordmaker (Shôtarô Hanayagi) makes a sword for the father of the samurai maiden (Isuzu Yamada) he loves. The sword breaks an inopportune moment, leading to disaster. The apprentice goes back to work to make a sword for Yamada to use to take her revenge. His task is complicated when the master swordsmith he works for is killed, by secret agents of the shogun. Hanayagi keeps on working, while Yamada bides her time. The two (along with his trusty helper) join forces just in time for the battle overthrowing the shogun. The dialog is clunky, the performances are often rather stilted, action sequences are often fairly awkward. No match for either Mizoguchi's own mammoth Genroku Chushingura