Ennio (2021) ☆☆☆(3/4): Morricone on his greatest hits

Posted on July 7, 2023 by kaist455

If you are a seasoned moviegoer like me, Ennio Morricone, who passed away in 2020 at the age of 91, is surely quite a familiar figure to you. After all, he was one of the greatest film music composers of our time, and his immense contribution and influence on film music are significant to say the least. After all, who can possibly not be impressed by many of his awesome works such as “The Good, the Bad and the Ugly” (1966)?

Documentary film “Ennio”, which is also known as “The Glance of Music”, looks over Morricone’s long and illustrious career, and its main strength comes from Morricone himself, who did lots of interviews for the documentary not long before his death. As a composer who worked on around 500 films during last six decades, he surely has lots of various interesting experiences to talk about, and, above all, he vividly recollects how he got inspired and then worked on some of his best works.

To our little amusement, Morricone actually did not want to be a musician when he was very young. He wanted to be a doctor instead, but his trumpeter father actively pushed him toward playing trumpet, and, what do you know, he gradually came to show his considerable musical talent. Around the time when he was approaching 20, he was quite willing to try his luck on being a composer, and he was certainly eager to learn a lot from his mentor Goffredo Petrassi, who was incidentally one of notable modern classic composers in the 20th century.

However, things did not go particularly well for Morricone during his early career period, and he had no choice but to work as an arranger for numerous pop songs because he needed to support him and his dear family. While this led to some inferiority complex for him, Morricone always tried best with many thankless jobs given to him, and he even occasionally mixed some musical experiments into those pop songs. He never gave up his education background, and he even tried on avant-garde music along with his contemporary colleagues.

This certainly provided some ground for him when he subsequently entered the realm of film music in the early 1960s. After quite impressed by what Morricone did for a couple of inconsequential Italian western films, Sergio Leone approached to Morricone, and, what do you know, they instantly clicked together after coming to realize that they were actually in the same elementary school. For Leone’s certain little western film whose lead performer was incidentally a young unknown American actor named Clint Eastwood, Morricone decided to try on some bold and refreshing stylistic touches, and, as all of us know, that led to an immense revolutionary change in western film music.

After the immense success of “A Fistful of Dollars” (1964), Morricone worked on many other Italian western films besides its two sequels, but he was also ready for trying other things, and that led to his collaborations with a bunch of many different Italian filmmakers ranging from Gillo Pontecorvo and Bernardo Bertolucci to Pier Paolo Pasolini and Dario Argento. He was so busy and prolific during that time, and there is an amusing episode on when Pontecorvo tried to snatch a certain piece of music Morricone had just recorded for Liliana Cavani’s latest film “The Cannibals” (1970) just because that fit so well to his new film “Burn!” (1969) (Morricone eventually composed a very similar one for Pontecorvo instead, by the way).

Meanwhile, Morricone began to test the waters with American films. In case of Terrence Malick’s great film “Days of Heaven” (1978), he got lots of artistic freedom thanks to Malick, and he eventually let Malick use his music freely while insisting that his music for the fire sequence should remain intact instead. As a result, he received his first Oscar nomination, but, alas, the award went to fellow Italian musician Giorgio Moroder’s electronic score “Midnight Express” (1978). To be frank with you, how the hell did Moroder’s effective but dated score beat Morricone’s sublime score as well as John Williams’ immortal score for “Superman: The Movie” (1978)?

The more infuriating case came when Morricone was later Oscar-nominated again for Roland Joffé’s “The Mission” (1986). Although the movie itself is rather deficient (But it somehow received several Oscar nominations including the one for Best Picture in addition to getting the Palme d’Or at the Cannes Film Festival(!) anyway), Morricone’s awe-inspiring mix of three vastly different music elements enhances many key moments in the film a lot, and almost everyone expected him to win an Oscar for that. However, the award eventually went to Herbie Hancock’s far less substantial score for “’Round Midnight” (1986), and Morricone still feels sore about his defeat at that time. In my humble opinion, he or Jerry Goldsmith, who was also nominated for his electrifying hybrid score for “Hoosiers” (1986), should have won, and Hancock’s controversial win is another reminder that many Academy voters do not care that much about film music from the beginning. After all, they gave an Oscar to Vangelis’ “Chariots of Fire” (1981) instead of John Williams’ unforgettable score for “Raiders of the Lost Ark” just because Vangelis wrote a merely fancy hit theme, didn’t they?

That is why Morricone was not particularly excited about his next three nominations, and he did not win as expected, but, thankfully, the Academy voters rectified their gross error in the 21st century. First, Morricone received an Honorary Award for his entire career in early 2007, and his acceptance moment was surely one of the highlights of the Academy Awards ceremony of that year. Second, Morricone was later nominated again for Quentin Tarantino’s “The Hateful Eight” (2015), and the time had indeed come for him to the delight of everyone including him.

In the meantime, Morricone kept working as before. We see him doing many concerts around the world, and there is a particularly memorable moment when the documentary shows him presenting a memorial piece for the 9/11 incident. Besides those numerous film music works of his, he certainly did lots of other things, and he also belatedly received recognition and admiration from those haughty contemporary classic composers in his country.

On the whole, “Ennio” is a solid and informative summary of Morricone’s career, and director/writer Guiseppe Tornatore, who collaborated with Morricone in several films including Oscar-winning film “Cinema Paradiso” (1988), surely brings lots of affection and respect into the documentary. I wish the documentary delved a bit more into Morricone’s personal life (Despite having lots of various interviewees ranging from to Lina Wertmüller and Oliver Stone to Quincy Jones and Hans Zimmer, the documentary curiously does not pay much attention to his wife and their children including Andrea Morricone, who incidentally has his own solid musician career), but I did not get bored throughout its 156-minute running minute thanks to Morricone at least, so I will not grumble for now.

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Beau Is Afraid (2023) ☆☆1/2(2.5/4): Who is afraid?

Posted on July 6, 2023 by kaist455

Ari Aster’s new film “Beau Is Afraid” often frustrated me even when I appreciated its artistic ambition to some degree. It is deliberately obtuse and baffling as its unstable (and unreliable) hero bounces from one kind of nightmarish setting to another, and it was rather difficult for me to hold onto its decidedly sprawling narrative and any kind of dream logic inside it.

Right from the beginning, we can clearly sense at least that the movie is stuck in its titular hero’s warped reality. It opens with the birth scene which feels as uncomfortable as the similar moment in Gaspar Noé’s “Enter the Void” (2009), and then we look at the latest therapy session between Beau (Joaquin Phoenix) and his psychiatrist. While the psychiatrist gently encourages Beau to tell more about how Beau feels about his mother, Beau is not so willing to tell anything as your typical neurotic mama’s boy, and the therapy session eventually ends with the psychiatrist prescribing a new kind of drug for Beau’s anxious mind.

However, Beau is not so relieved or relaxed at all, because his city is full of violence and dread here and there around him. As watching Beau constantly being menaced by many various bad things outside on streets, I wondered whether Aster actually tries to surpass all those seedy and violent aspects of the Gotham city in Todd Phillips’ “Joker” (2019), though the movie does not have any steep stair where Phoenix, who incidentally won an Oscar for that film, can dance.

Anyway, Beau’s mother issues become more intense when he happens to have a series of problems blocking him from visiting his mother’s residence outside the city. First, somebody in his apartment building makes lots of loud noises to his annoyance, and then someone else keeps sending a note accusing him of making those loud noises. Deprived of any good sleep, he comes to oversleep, so he hurriedly prepares himself for going to a local airport, but, what do you know, there comes another trouble which makes his circumstance worse.

While feeling all the more pressured after his apologetic phone conversation with his mother, Beau becomes more cornered by the outside world step by step. In the end, he finds himself locked out of his apartment while it happens to be filled with a bunch of very unpleasant people, and his newly prescribed drug does not help him much, with the grim possibility of side effects at one point.

Not so surprisingly, Beau eventually reaches to a sort of mental breakdown after receiving a very bad news for him, but, alas, things do not get better for him even after that point. After subsequently getting knocked out due to an unfortunate accident, he wakes up to find himself under the care of a seemingly generous couple, and this couple looks quite willing to help his recovery as much as possible, but they somehow keep Beau from doing what he needs to right now: going to his mother’s residence.

And the circumstance surrounding Beau gets weirder scene by scene. Inside the couple’s house, there is an angry and sullen teenager daughter of theirs who is not so pleased by Beau’s presence, and there is also a very disturbed war veteran who was once a comrade of the couple’s dead son. Beau naturally gets out of this odd place as soon as possible, but his current physical condition does not allow that, and he becomes more and more baffled because of these very strange people around him.

So far, I have only described what I observed from the first half of the film, which feels less confusing than the second half. I will not go into details here, but all I can tell you is that Beau’s state of mind becomes a lot more unstable than before, and we accordingly get a number of truly surreal moments including the sequence where his mind gets immersed in a sort of trance while watching an amateur theater performance in the middle of a remote forest. Although the mood and details are as artificial as your average Wes Anderson film, this sequence is almost hypnotic, and the result is nearly good enough for me to forgive more artistic self-indulgence during the rest of the film.

I admire what Aster and his crew members including cinematographer Pawel Pogorzelski try to achieve here, but Aster’s screenplay fails to establish enough emotional ground to hold our attention amidst all those baffling moments in the movie. Sure, it is clear that the movie wants to go all the way for exploring and indulging in good old mother complex, but the result is merely morbid and opaque on the whole, and we come to observe everything in the film from the distance without much care or attention.

The main cast members of the film try their best with their respective roles. While Joaquin Phoenix gives us another dark performance full of anxiety and disturbance, Nathan Lane and Amy Ryan have some fun with their increasingly grotesque characters, but they are rather under-utilized just like several notable performers including Patti LuPone, Kylie Rogers, Denis Ménochet, Richard Kind, Parker Posey, Hayley Squires, and Stephen McKinley Henderson.

In conclusion, “Beau Is Afraid” is two or three steps from Aster’s two previous films “Hereditary” (2018) and “Midsommar” (2019). Both of these two films are not something you can casually watch on Sunday afternoon, but they left considerable impression on me, and “Beau Is Afraid” lacks their sheer emotional intensity. As I said before, I do not mind being confused and baffled from the beginning to the end (I am a big fan of David Lynch’s “Mulholland Drive” (2001) and Charlie Kaufman’s “Synecdoche, New York” (2008), for instance), but, boy, its bloated artistic self-indulgence during no less than 3 hours is too much for me, and I do not think I will revisit it soon for any more possible understanding or appreciation.

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Nimona (2023) ☆☆☆(3/4): A predictable but offbeat fantasy animation film from Netflix

Posted on July 3, 2023 by kaist455

Netflix animation film “Nimona”, which was released a few days ago, attempts to bring some fresh air of diversity and tolerance to its familiar fantasy story, and it succeeds to some degree. Although it is often predictable in terms of narrative and characterization, the movie is delightful to watch at times as occasionally pulsating with its quirky spirit and style, and I gladly went along with that despite my reservation.

At first, the movie quickly establishes its main background, a little fantasy kingdom which alternatively looks futuristic and medieval. While it has lots of futuristic stuffs such as flying vehicles and fancy digital tablets, this kingdom is also pretty monarchic just like that African fantasy kingdom in “Black Panther” (2018), and we get to know how the kingdom and its commoners have been protected and served by a bunch of noble and prestigious knights led by their monarch.

However, Queen Valerin (voiced by Lorraine Toussaint), the current monarch of the kingdom, decides to bring some significant change to the old order and tradition of her kingdom via a lad named Ballister Boldheart (voiced by Riz Ahmed). Although he is a mere commoner, the queen had lots of faith in Ballister even when he was just a young boy aspiring to be a knight, and he has surely showed that he has indeed the right stuff for being ordained as a new knight by his queen.

Alas, something quite unexpected happens when Ballister is about to become one of his queen’s knights in the middle of a big official ceremony. Somebody assassinates the queen via Ballister’s sword, and Ballister soon finds himself becoming a fugitive pursued by many other knights because he happened to hold the murder weapon at that moment.

In his little secret place, Ballister tries to find any possible way to clear his name and then catch whoever is behind the assassination of the queen, and that is when a quirky girl named Nimona (voiced by Chloë Grace Moretz) enters the picture. She is quite eager to be his sidekick simply because she wants to have some fun and adventure besides having someone to hang around with, and Ballister reluctantly accepts her companionship even though he is still not quite certain about her.

Of course, Nimona turns out to quite more helpful than Ballister thought at first. She is actually a shapeshifter who can transform herself into a various kind of creatures ranging from cat to whale, and this particular skill of hers is surely useful for Ballister when he needs to escape from where he is subsequently incarcerated.

As spending more time with Nimona, Ballister gradually comes to care more about her as a fellow outsider, and the film has a lot of fun from this oddly mismatched duo. Besides her shapeshifting skill, Nimona also has considerable artistic sensibility as your average irrepressible punk girl, and I can easily imagine her having a wild club party time with a certain Spider-Man character in recent animation film “Spider-Man: Across the Spider-Verse” (2023). Chloë Grace Moretz, a wonderful actress whom some of you may remember for her very violent breakout performance “Kick-Ass” (2011), often excels whenever Nimona becomes quite heedless with her indomitable spirit, and she is particularly good when her character enthusiastically tells a story of hers via her broad but undeniably spirited sketches.

On the opposite, Riz Ahmed, who can be very funny as shown from darkly satiric terrorist comedy film “Four Lions” (2010), complements Moretz’s energetic voice performance with his more restrained voice acting. Although his character often feels too plain and uncharacteristic compared to Moretz’s character, Ahmed brings some earnest seriousness to his role, and it is a shame that the movie does not bring much depth to his character’s personal relationship with one of substantial supporting characters. As observing this, I was surely reminded again of how we have been more comfortable with LGBTQ+ characters during last several years, but I was also rather disappointed because Ballister’s relationship with that supporting character feels perfunctory at best and superficial at worst. After all, the film is based on the graphic novel of the same named by transmasculine and bigender artist ND Stevenson, isn’t it?

Anyway, things get more interesting as a certain secret about Nimona is revealed later in the story. and that accordingly culminates to a dramatic moment between her and Ballister. Although the movie accordingly shifts itself onto a full-action mode around that narrative point, I must confess that I had never imagined that I would see a cross between those Godzilla flicks and Hayao Miyazaki’s great animation film “Princess Mononoke” (1997), and that surely earned some extra point from me.

Overall, “Nimona”, directed by Nick Bruno and Troy Quane, could be better in my trivial opinion, but it is still fairly enjoyable thanks to its distinctive style and spirit at least. I would rather recommend “Spider-Man: Across the Spider-verse” or recent Pixar Studios animation film “Elemental” (2023) first, but it is another notable animation film of this year, and you may enjoy it especially if you have some free time to spend on it.

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Run Rabbit Run (2023) ☆☆1/2(2.5/4): Palpably atmospheric but ultimately middling

Posted on July 3, 2023 by kaist455

Netflix horror film “Run Rabbit Run”, which was released in last week, is palpably atmospheric but ultimately middling. While it is mainly driven by lots of mood and some emotional intensity from its solid lead performance, the movie is rather superficial in terms of story and characters, and that is the main reason why it fails to distinguish itself among similar genre works ranging from “The Babadook” (2014) to “The Hold in the Ground” (2019).

The movie mainly revolves around the increasingly deeply troubled relationship between a single mother and her little daughter. As her daughter’s birthday party is coming, Sarah (Sarah Snook) is willing to do her best for making her daughter Mia (Lily LaTorre) happy, and she even lets Mia keep a stray rabbit found in front of their house, but we cannot help but sense some distance between Sarah and her daughter – especially when they are joined by her ex-husband and his new family during her daughter’s birthday party.

And we come to gather about Sarah’s recent personal loss. Some time ago, her father died, and there are lots of family stuffs inside the garage of her house, but Sarah is not particularly eager to be reminded of her family past. While she clearly loved her father, she does not answer to frequent phone calls from a facility where her senile mother has been kept during last several years, and she does not want to talk about this matter with anyone, let alone her daughter.

However, to Sarah’s annoyance, Mia suddenly begins to show some interest in her mother’s past for some unspecified reason, while also starting to show a number of strange behaviors as if she were possessed by something. At first, she simply seems to be obsessed with an old family photograph of Sarah, but then she often wears a cardboard mask without any explanation, and she also “pretends” to be someone else.

When her daughter demands that she should be called “Alice”, Sarah cannot help but become quite disturbed for a reason to be gradually revealed along the story. Alice is actually the name of a younger sister of hers, and her daughter’s strange behaviors seem to touch something Sarah still does not want to talk about at all – even when her daughter asks more about her family past.

Because her daughter keeps insisting that she must see her grandmother right now, Sarah eventually agrees to take Mia to that facility where her senile mother is currently living. Needless to say, their visit to Sarah’s mother causes more disturbance for both Sarah and her mother, and we come to wonder more about what really happened in Sarah’s past, though we clearly sense that something quite bad did occur at that time.

Is her daughter really possessed by some supernatural entity associated with whatever happened in her past? Well, the movie naturally refuses to give us any clear answer for a while as building up more sense of dread and anxiety on the screen. Thanks to cinematographer Bennie Elliott, the movie is constantly shrouded in gloomy atmosphere even when its main characters are under broad daylight, and the wide and empty landscapes of the Australian outback areas often generate some visceral uneasiness as they did in many other notable movies such as, yes, “Picnic at Hanging Rock” (1975).

However, the screenplay by Hannah Kent is rather deficient in case of developing its story and characters. While we do not get to know that much about Sarah’s relationship with her increasingly unruly daughter, we are not informed much about her apparently estranged relationship with her senile mother either, and I must point out that Gretta Scacchi, an Italian-Australian actress whom I still remember well for her good supporting performances in “Presumed Innocent” (1990) and “The Player” (1992), is glaringly wasted in her thankless supporting role.

At least, the movie diligently unnerves us throughout its running time because of the good performance from Sarah Snook, who has been more prominent during last several years since her unforgettably committed performance in “Predestination” (2014). While her character is a typical horror movie heroine under lots of pressure and anxiety, Snook skillfully brings raw emotional qualities to her role, and we keep following her character’s psychological deterioration along the story even when the movie stumbles more than once during its second half. On the opposite, young performer Lily LaTorre handles her tricky role fairly well, and her several intense scenes with Snook are believable thanks as they ably convey to us the increasing strain and awkwardness between their characters.

“Run Rabbit Run” is directed by Diana Reid, who has mostly worked in a number of notable TV drama series including “The Handmaid’s Tale” (She received an Emmy nomination for that acclaimed TV series, by the way). As far as I can see, she is a good director who knows how to engage us via mood and details, but that cannot wholly compensate for the weak narrative and thin characterization of the film, and its underwhelming result only makes me eager to revisit similar genre films mentioned above. No, I do not mind get confused and baffled, but the movie does not have enough emotional substance onto which we can hold to the end, and we are eventually left with rather hollow impressions instead of being really unnerved or terrified.

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Rock Hudson: All That Heaven Allowed (2023) ☆☆☆(3/4): Behind his heterosexual image

Posted on July 2, 2023 by kaist455

HBO documentary film “Rock Hudson: All That Heaven Allowed” examines the life and career of Rock Hudson, one of the most prominent star actors in the Golden Age of Hollywood. Although the documentary is not particularly revealing in case of his homosexuality and how it was hidden behind his all-American heterosexual image for many years, it is still engaging to observe how some of his notable movie performances have become more fascinating these days, and the documentary also delves a bit into some interesting aspects of his personal life.

At first, the documentary focuses on how Hudson’s acting career was started in the 1950s. When he moved to Hollywood for becoming a movie actor shortly after the end of his military service period in 1946, he was just a tall, handsome lad from Illinois, but then his potential soon got noticed mainly thanks to an influential Hollywood agent named Henry Wilson. After appearing here and there in several films during next several years, he came to work with Douglas Sirk in “Has Anybody Seen My Gal?” (1952), and then he quickly became the next new male star to watch after appearing with Jane Wyman in Sirk’s two classic melodrama films “Magnificent Obsession” (1954) and “All That Heaven Allows” (1955).

In addition, Hudson also appeared in George Stevens’ epic drama film “Giant” (1955), which garnered him the sole Oscar nomination in his career. While he often did not get along that well with his fellow Oscar nominee James Dean on the set, Hudson quickly befriended Elizabeth Taylor, and that was the beginning of their long friendship which lasted until his death in 1985.

Meanwhile, millions of audiences continued to adore Hudson, and they were all naturally interested in whom he would marry in the end. Despite being almost 30 around that time, he did not show much interest in marriage even though he was often photographed along with several actresses, and, of course, that was a fertile ground for lots of rumors and speculations about his sexuality.

Via several interviewees who were close to Hudson in one way or another during that time, the documentary details how he managed to keep his homosexuality under his seemingly exemplar façade. First, his agent did a lot of works to hide anything about his homosexuality from those hungry tabloid magazines such as Confidential (Yes, that is where the title of James Ellroy’s classic noir novel “L.A. Confidential” came from), and Hudson even married his agent’s secretary, though their married life was quickly ended a few years later.

In addition, Hudson was very discreet about whatever he was doing in private, and everybody was willing to go along with his clean-cut star image because, well, a star actor like him could be tolerated a lot in Hollywood as long as he did not make any big trouble or annoyance outside. He was also surrounded by a small group of closeted gay friends he could fully trust, and they all certainly shut up about their, uh, private fun.

Nevertheless, Hudson’s homosexuality was always around some of his notable movie performances, and that is all the more evident from our 21st century perspective. For example, he often looks rather too perfect as an object of heterosexual desire in Sirk’s melodrama films, and that contributes a lot to the ironically artificial qualities of Sirk’s deliberately stylized melodramatic storytelling. In case of several comedy films he appeared along with Doris Day, Hudson plays straight guys pretending to be gay, and this surely feels to us like a sort of twisted joke on his private life now.

When the Golden Age of Hollywood was being over in the 1960s, Hudson tried to get more freedom as an actor, but he only found his stardom declining bit by bit. Although he was still respected as an old Hollywood star actor, he was not that prominent at all, and that was why he appeared in TV series “McMillan & Wife” during the 1970s.

Even during that period, Hudson did not come out of his closet at all although the American society became relatively more tolerant to LGBTQ+ people than before. As one of his friends observes in the documentary, he seemed so accustomed to his dual life that coming out of his closet was nearly impossible for him, though that did not prevent him at all from having some casual sexual fun from time to time.

However, there later came a point where Hudson could not possibly hide his homosexuality anymore. In 1984, he was notified that he was suffering from AIDS just like thousands of other unfortunate gay people in US during that time, and this grim fact was eventually recognized under his permission when he subsequently got very ill in Paris in the very next year. While they could have helped him to some degree, President Ronald Reagan and his wife Nancy did not do anything about that despite being two of his close friends, and that really shows us how much they were indifferent to the ongoing AIDS epidemic in US during that period. At least, Hudson received full support from Elizabeth Taylor later, and he became more comfortable with his homosexuality while also being active in raising funds for medical research on AIDS during the last several months of his life.

Overall, “Rock Hudson: All That Heaven Allowed”, directed by Stephen Kijak, may not tell you anything new especially if you are familiar with its main subject, but it is still worthwhile to watch as the entertaining presentation of Hudson’s life and career. He may not be a great actor, but he surely had an interesting life and career, didn’t he?

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For the Love of Spock (2016) ☆☆☆(3/4): His life with Spock

Posted on July 2, 2023 by kaist455

Documentary film “For the Love of Spock”, which I belatedly watched via Netflix today, is a sincere and loving tribute to one of the most famous science fiction characters and the legendary actor behind that iconic character. While it surely pays lots of attention to his longtime connection with that very popular character of his, the documentary also shows and tells a lot about many other things in his life and career, and that will certainly interest you, even if, like me, you are not so knowledgeable about that monumental TV series or whatever has been originated from that during the next five decades.

The main subject of the documentary is the life and career of Leonard Nimoy, who has always been associated with Mr. Spock, a memorable alien character in TV series “Star Trek” during the late 1960s. As many of you know, Mr. Spock often functions as a cool, detached, and logical counterpart to the adventurous spaceship captain character played by William Shatner, and how they complement each other throughout the TV series was one of key elements contributing to the enduring popularity of the TV series even in the 21st century.

At first, the documentary, directed by Nimoy’s son Adam Nimoy, details the struggling early years of his acting career in the 1950s. Despite his parents’ objection, Nimoy decided to come to California because he was already quite passionate about acting even when he was very young, and we hear about how things were often hard for him and his first wife during that time. After doing many different jobs to earn his living, he eventually began to appear here and there in a number of movies and TV series, but that was just marginally enough to support his wife and their two children, though his children fondly remember their childhood time with their parents.

And then there came a seemingly insignificant job offer from Gene Roddenberry, who was quite impressed by Nimoy’s guest performance in one of his TV shows. Roddenberry asked him to appear in the pilot episode of his latest TV series for NBC, and Nimoy did not say no because, well, he was always ready to play any role given to him as a struggling actor. When NBC later had Roddenberry shoot the pilot episode again after the considerable casting changes, Nimoy remained in contrast to many other members of the original cast, and then he soon became quite popular in public once the first season of that TV series was aired in 1966.

Of course, that TV series in question is “Star Trek”, which incidentally garnered Nimoy three consecutive Emmy nominations. As he explored all those fascinating characteristics of Mr. Spock on TV, he made an indelible impression on millions of TV viewers out there, and he suddenly found himself receiving a lot more attention than before.

Nevertheless, Nimoy did not dwell on this popularity of his at all, and he actively tried to distance himself from Mr. Spock once the TV series got canceled in 1969. Besides appearing in several other TV series and movies such as Philip Kaufman’s “Invasion of the Body Snatchers” (1978), he tried a number of notable plays and musicals on stage (He even tried “Fiddler on the Roof”, by the way), and he also released several albums as a singer. At one point, the documentary shows an archival footage clip of him singing about the certain main character of “The Lord of the Rings”, and I must confess that even I could not keep my face straight in front of this ridiculous stuff (I am not a guy who can be easily amused, you know).

However, “Star Trek” and Mr. Spock still continued to influence Nimoy’s life and career in one way or another. When he was asked to appear in “Star Trek: The Motion Picture” (1979), he did not say no although he and the production company had to settle on a little business issue first. When he appeared in “Star Trek: The Wrath of Khan” (1982), he thought that would be the end of his association with Mr. Spock, but, what do you know, he not only appeared but also directed in the two following sequels.

Around that period, the fandom for “Star Trek” kept growing more and more, and Nimoy’s son interviews a number of various fans willing to talk about how much the TV series and Mr. Spock means to them. Nimoy was always kind and generous to those numerous fans out there, and he was certainly happy to participate in the recent Star Trek movies later in his career.

Meanwhile, the documentary also recognizes Nimoy’s several personal flaws and problems. He was an alcoholic, and this personal flaw of his actually worsened his estranged relationship with his son around the time when his son entered his adulthood period. At least, he fortunately got things under control after marrying his second wife, and he and his son subsequently came to have a moment of reconciliation when his son was facing a very difficult personal matter of his. Right before he died in early 2015, he gladly cooperated with his son for the documentary, and he is certainly quite frank as being prepared to tell anything in front of the camera.

On the whole, “For the Love of Spock” handles its main human subject with considerable affection and respect, and Adam Nimoy did a competent job of shuffling a bunch of archival and interview clips to give us the engaging presentation of his father’s life and career. This remarkable actor is gone now, but his legacy will continue to live long and prosper, you know.

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Sura: A Love Song (2022) ☆☆☆1/2(3.5/4): Save tidal flat

Posted on July 2, 2023 by kaist455

South Korean documentary “Sura: A Love Song” vividly and powerfully reminds me of how precious and beautiful nature can really be. Closely following the longtime civilian efforts for recording and saving the natural environment of the tidal flats of the Saemangeum area on the west coast of the Korean Peninsula, the documentary makes a very strong case on the devastating environmental damages caused by the Saemangeum Seawall Project at present, and I assure you that you will come to reflect more on its urgent environmental issues as its end credits roll.

I thought I was well aware of the environmental issues surrounding the Saemangeum Seawall Project, but the documentary shows me that the environmental damages from that utterly useless development project have been much more serious than I ever thought. Planned and then authorized in the late 1980s, the Saemangeum Seawall Project was supposed to provide new lands for more industrial development via building an extensive seawall across its coastal area. The South Korean government claimed that this ambitious long-term development project would stimulate the local economy in addition to bringing considerable benefits to the local residents in the end, but it eventually turned out that this project only caused lots of harm to local nature and residents instead of benefiting either of them in any possible way. For example, numerous fishing folks came to lose their main source of income to their despair and frustration, and I must tell you that it is really painful to see how their lives and villages became quite barren and miserable during next three decades.

In addition, the Saemangeum Seawall Project was bound to cause a considerable environmental change to the wide tidal flat areas to be blocked by its extensive seawall. These tidal flat areas were natural habitats for millions of many different animals and plants, and they were particularly important for various kinds of migratory birds as places where these birds can rest and eat for a while in the middle of their seasonal migrations.

We hear about how the South Korean government has willfully neglected the environmental importance of the tidal flat areas from the very beginning of the Saemangeum Seawall Project. For instance, its official preliminary report on the ecology of the tidal flat areas grossly omitted a bunch of endangered species inhabiting in the tidal flat areas just for getting the project authorized as soon as possible, and the following lawsuit by the local civilian groups was casually dismissed even at the Supreme Court.

Thousands of local fishing folks and civil activists really tried hard to stop the project during the 1990s ~ 2000s, but their desperate protests were ignored by the South Korean government as before, and it kept pushing the project without any kind of consideration or moderation. The seawall was eventually completed in 2006, and the tidal flat areas blocked by the seawall soon began to show considerable environmental damages within a short period of time. First, the areas became much drier than before, and that consequently led to the death of not only millions of various marine animals but also thousands of many different birds above them in the food chain system of the tidal flat areas.

Director Hwang Yoon closely recorded the situation surrounding the tidal flat areas for a while during that period, but then she came to quit her filmmaking process due to understandable persona reasons. Several years later, she and her family happened to move to a local city associated with the project, and that was how she resumed her connection with the Citizen’s Survey Group on Saemangeum, which has focused more on recording the environmental changes of the tidal flat areas since that period.

The documentary closely follows the ongoing personal project of several members of the organization including a middle-aged man named Oh Dong-pil. Having always been passionate about the environment of the tidal flat areas, Oh has been focusing mainly on monitoring and recording the wild life of the tidal flat areas. He is especially interested in many different bird species inhabiting in the tidal flat areas, and he gladly shows us their considerable diversity, which will definitely marvel you in many ways. I especially like a certain local bird species whose male members change the color of their head during the mating season, and I must tell you that the documentary presents this and many other bird species of the tidal flat areas as vividly as National Geographic documentaries.

And these bird species and many other different animal and plant species of the tidal flat areas gave some hope and motivation to the organization. Sure, the seawall is still blocking and damaging the tidal flat areas even at this point, but the tidal flat areas still have the possibility of restoration and preservation at least, and that was indubitably proven when the South Korean government eventually allowed the occasional opening of the seawall. As a result, much more fresh sea water was flown into the tidal flat areas, and Oh and his colleagues were delighted to see several crucial signs of environmental recoveries, though they still have lots of things to do for protecting and preserving the tidal flat areas.

In conclusion, “Sura: A Love Song”, whose title incidentally comes from the name of one of the tidal flat areas, is memorable for not only its strong environmental message for us but also its deep affection toward to its main subject and several good people associated with that, and its haunting poetic beauty generated from its main subject still lingers on my mind even at this point. Yes, we often ruin nature a lot, but we can also restore it if we really try, and the documentary touchingly reminds that to me.

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Extreme Festival (2023) ☆☆1/2(2.5/4): One messy festival day

Posted on July 2, 2023 by kaist455

I was mildly amused by the comically messy circumstance among the main characters of South Korean film “Extreme Festival”. No matter how much its heroine and several other characters try their best for saving their little local event, things keep going wrong thanks to not only the incompetence of theirs and others but also some bad luck, and we wonder more about whether they can actually make it to the end of their festival day.

At first, we get to know how the situation has been very stressful for Hye-soo (Kim Jae-hwa), the representative of a small event management company who has to handle a small cultural event in her rural county on one day. She is not particularly willing to do this job because things have been quite problematic even during the preparation period, but she has no choice because she agrees to do this job in exchange of handling some bigger (and more lucrative) local festival later.

Anyway, she assembles several employees of hers and some other part-time employees for the local festival, but they are not that cooperative to say the least. While her business partner Sang-min (Jo Min-jae) is more occupied with clinging onto the fading fame from his writing career, Rae-oh (Park Kang-sub) is rather sulky mainly because he gets employed again after being let go some time ago, and Eun-chae (Jang Se-rim), a young woman eager to grab any opportunity to get out of the town, is the only member who shows more enthusiasm, mainly because she has been just employed as a part-time employee.

Now I have to tell you a bit about how absurd that local festival in question really is. As shown from the opening part of the film, it was initially intended for promoting the historical significance of the county associated with King Jeongjong, the second king of the Joseon Dynasty. Besides sandwiched between King Taejo and King Taejong, who are much more famous in addition to being his father and his younger brother, King Jeongjong does not have anything historically notable (He was on the throne only for a few years, by the way), and that is why it was decided at the last minute that the local festival should change its historical subject.

However, the alternative is not particularly ideal either, except being quite notorious to say the least. To be frank with you, any South Korean person who did not sleep during history school class will tell you that King Yeonsan-gun was an infamous tyrant who did lots of bad and idiotic things before eventually getting himself deposed, though he has surely been a good story material for many local movies and TV drama series (Just watch Lee Joon-ik’s “The King and the Clown” (2005), and you will see what I mean).

Nevertheless, Hye-soo keeps trying for getting things roll during the festival, though that soon turns out to be quite more challenging than expected. For example, Sang-min and Rae-oh do not help her much while casually believing that everything will be all right in the end, and that certainly exasperates Hye-soo again and again. While Eun-chae is willing to do a lot more than expected, she also has her own condition to demand, and that surely brings another headache to Hye-soo.

Meanwhile, there are also two other problems Hye-soo has to cope with right now. The chief of the county, to whom Hye-soo has to obey for her and her company’s benefit, has been rather fastidious about the festival, and this person suddenly makes a demand on some changes to be incorporated into a little comic historical play to be held at the end of the festival day. Naturally, a group of performers are not so amused at all, and that consequently leads to a little strike of theirs.

The movie continues to throw more elements into its fairly busy comic mix. There is a subplot involved with a certain Japanese celebrity recognized by Sang-min and Rae-oh, and then we get another subplot involved with Eun-chae and her best friend. In addition, there is also a young couple who simply seem to be enjoying how messy the festival can be, and they can be regarded as a sort of surrogates for us.

However, these and many other elements in the story somehow do not build up enough comic momentum to engage us, and the movie eventually becomes quite predictable without much surprise for us. Yes, there comes an inevitable moment of emotional meltdown for Hye-soo, who understandably becomes mad as hell and cannot take it anymore later in the story. Yes, there subsequently comes the last-minute solution for Hye-soo and her employees, and we see how they give their best shot. Yes, there naturally comes the feel-good ending where everyone in the story prepares themselves for whatever will be next for their respective lives, and we are supposed to be warmed and touched by that.

At least, the movie has several good main cast members who do more than required by their broad archetype roles. While Kim Jae-hwa dutifully holds the center as required, Jo Min-jae, Park Kang-sub, and Jang Se-rim are convincing in their respective supporting roles, and the special mention goes to Kim Jong-goo, a veteran actor who ably balances his seasoned performer character between humor and gravitas.

On the whole, “Extreme Festival”, directed by Kim Hong-ki, does not entertain me enough for recommendation, but it has some good laughs mainly thanks to the commendable efforts from its several main cast members. It is rather flawed just like the local festival in the film, but it is occasionally amusing at least, so I will let you decide whether you will check it out or not.

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206: Unearthed (2021) ☆☆☆(3/4): Unearthing the tragedies of the Korean War

Posted on July 1, 2023 by kaist455

South Korean documentary film “206: Unearthed” illuminates one tragic fact of the Korean War, which I and other South Koreans should remember as long as possible. During that dark and dangerous period, millions of innocent civilians were massacred around the country just because of being labeled as communists or collaborators, and there are actually more than 100 spots in South Korea where the bodies of those massacred people were buried for many years.

The documentary follows the efforts of a small organization of civilians and volunteers willing to do some hard work for locating and then excavating the remains of those massacred people. Although too many years have passed since the end of the Korean War, the members of the organization are ready to do their best for bringing some solace to not only those massacred people but also their family members, and the documentary often closely observes how the members of the organization work at their numerous excavation sites. Sometimes they do not get much result in the end, but they are not daunted at all, and they keep going for wherever they can possibly excavate another tragedy of the Korean War.

As shown in the middle of the documentary, there were actually considerable efforts for finding the remains of those massacred people during the early 1960s, though that did not last that long to the sadness and frustration of their family members. Once President Syngman Rhee, who was one of several figures chiefly responsible for the civilian massacres during the Korean War, was ousted thanks to the April Revolution in 1960, the South Korean government belatedly began to look into the civilian massacres during the Korean War, but, alas, the following efforts were soon blocked due to the military coup in 1961, and nobody dared to talk about that during next three decades.

When the Truth and Reconciliation Commission was established by the South Korean government in 2005, there was some hope for the family members of those massacred people, but, again, their hope was dashed only 5 years later as the commission was disassembled. Nevertheless, activists and bereaved families decided to keep trying to locate and excavate the remains of those massacred people, and their efforts mean a lot to director Huh Chul-nyoung because his grandmother, who passed away several years ago, also had her own sad personal story involved with the civilian massacres during the Korean War. Her husband was one of those massacred people, but then she had to be silent about that just like many other people out there, and she had to keep lots of grief and pain to herself till her death without knowing anything about the whereabouts of her husband’s body.

The documentary occasionally interviews the family members of several massacred people, and they all have each own sad story to tell. In case of one old man, he cannot help but become quite emotional as remembering how his father was taken away from the family in the middle of the war, and we are saddened as he still cannot find his father’s remains despite his active participation in the aforementioned organization.

We also meet several activists and professional experts leading the excavation missions of the organization. They all deeply care about their joint work, and their words remind us of why it is always important for us to remember the past. Yes, we always have to move toward future, but that is only possible when we face and recognize past, and that is why they have been diligently trying to bring more public awareness to their noble cause.

Sometimes they and other organization members come upon a spot with lots of buried remains, and it is both chilling and saddening to observe what they excavate step by step. Besides lots of skulls and bones, there are also heaps of personal stuffs such as shoes and buttons, and I particularly remember a scene where we see a little rusty lighter. On that lighter, a certain name was scratched, and it is quite possible that that is the name of its owner, who was likely one of many people killed on the spot and probably scratched the name on that lighter at the last minute.

We later see how the results of that excavation are systemically sorted out at a special facility. We see lots of many different bones categorized in one group or another, and the documentary tells us how difficult it is to sort out those bones for identifying one massacred person after another. After all, a human body contains no less than 206 bones, and we can only imagine how much time and effort are put into this demanding identification process.

In the end, the remains of each identified massacred person are put into individual boxes to be stored, and then we see the joint funeral service for all of these massacred people. Although many of them remain anonymous, they finally get the closure for themselves at least, and, above all, they will be surely remembered as a part of the history.

Although it feels a bit too plain at times, “206: Unearthed”, which received the Mecenat award when it was shown at the Busan International Film Festival in 2021, handles its important historical issue with considerable care and respect, and I became more interested in its main subject as observing many haunting moments to remember. It could show and tell more in my humble opinion, but it is still a fairly solid documentary on the whole, and I certainly recommend you to check it out if you want to know more about those numerous tragedies of the Korean War.

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Small, Slow but Steady (2022) ☆☆☆(3/4): The daily life of a deaf female boxer

Posted on July 1, 2023 by kaist455

Japanese film “Small, Slow but Steady” is a restrained but intimate drama revolving around the daily life of one hearing-impaired female boxer. While slowly but steadily observing how its heroine tries to go on one plain day after another, the movie subtly lets us get to know her bit by bit, and you will come to admire its dry but thoughtful storytelling more as observing a little sign of hope and optimism in the end.

At first, the movie simply depicts how things have been mostly okay for Keiko Ogawa (Yukino Kishii). As the movie informs us around the beginning of the story, she has actually been a professional boxer during last two years, and she is certainly proud of that even though she is not quite talented as the president of her boxing club frankly admits later in the story.

Nevertheless, Keiko keeps training everyday for her next match to come – unless she is not doing her main occupation outside. She works as a cleaning staff member in some local hotel, and we observe how she works well along with several other employees including a young woman who is also hearing-impaired just like her.

At her home, Keiko has been living with a musician brother in one small apartment. Both her mother and her brother sincerely support her athletic aspiration, and they certainly attend her latest match, but Keiko’s mother cannot help but worry about her daughter for understandable reasons. After all, there is always the possibility of serious injury whenever Keiko enters the ring, but she does not worry much because she is mostly confident about her athletic talent and skill.

However, she is also well aware of how she is often quite disadvantaged in the ring mainly due to her hearing impairment. Because she cannot hear at all, her eyes must be more watchful about any unexpected punch from her opponent, and her coaches usually have to give her signs instead of shouting at her during her match. In addition, she has several notable physical weaknesses and disadvantages, and that is the main reason why she needs to train and push herself harder.

Anyway, her latest match is ended with a little but significant victory for her, but there comes a big problem. Her boxing club, which looks quite old-fashioned with numerous shabby stuffs which vividly reflect its long history to us, has been not doing that well in its business, and it is also struck quite hard by the ongoing COVID-19 pandemic. As many of its members quit one after another, the president of the boxing club begins to consider closing down his boxing club, and the situation gets worse when he is notified later that his body has been showing the signs of some serious health problem.

Despite these problems of his, the president of the boxing club tries as much as possible for maintaining it as usual, and he shows more attention to Keiko than before because he genuinely cares about her. He gives her some support during her routine morning training, and, when he eventually decides to close down his boxing club, he has one of her coaches search for any other possible boxing club where she can continue training.

Meanwhile, Keiko tries to keep going even after learning about the impending end of her dear boxing club, but she mostly keeps her doubt and frustration to herself even in front of her brother, who instantly senses her inner conflict but sensibly does not ask too much about that. Besides, there will be another match for her, and she must prepare for that as much as possible.

Rather than following those familiar sports drama genre conventions, the screenplay by Shô Miyake and his co-writer Masaaki Sakai, which is based on the 2011 memoir written by Keiko Ogasawara (She is the first hearing-impaired female professional boxer in Japan, by the way), focuses more on small but substantial details for building up its heroine more along the story. Although she does not express much about herself or her athletic aspiration, we come to sense that boxing is a way of communication for Keiko, and that is why her training scenes become more important than a few boxing match scenes in the film. Whenever she trains, she feels not only just excited but also quite spirited, and we come to discern why she cannot give up boxing at all despite her growing doubts on the future of her professional athletic career.

It certainly helps that the movie is supported well by the engaging performance by Yukino Kishii, who is terrific as ably handling subtle emotional nuances to be appreciated. Around Kishii, Miyake assembles a number of good performers who have each own small moment to shine, and Tomokazu Miura is particularly good in his several key scenes with Kishii. Although their characters do not say much about their relationship, we can clearly sense a long history between them, and that is why one crucial scene involved with Keiko’s diary feels quite poignant.

On the whole, “Small, Slow but Steady” surely requires some patience from you due to its decidedly low-key approach to the story and characters, but it will engage you more than expected once you give it a chance. Although I have not seen Miyake’s previous works including “And Your Bird Can Sing” (2018), “Small, Slow but Steady” shows that he is another interesting Japanese filmmaker to watch, and I will certainly be curious about whatever will come next from him.

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