Early Summer (Yasujirō Ozu, 1951). The middle entry in the set known as Yasujirō Ozu’s “Noriko trilogy,” Early Summer settles in with a Japanese family and the acquaintances that move in and out of their sphere. The film is about … Continue reading Playing Catch-Up — Early Summer; Ex-Lady; So Big
Good Morning (Yasujirō Ozu, 1959). I’ll admit to being underexposed to the work of the revered Japanese director Yasujirō Ozu. (It’s not a good excuse, by any means, but I’ve devoted most of my relevant geographically-based cinema self-schooling to films of … Continue reading Playing Catch-Up: Good Morning; The Big Sky; The Witness
#8 — Tokyo Story (Yasujirō Ozu, 1953) There are few films in the canon of necessary classics as quiet, tender, and elegiac as Yasujirō Ozu’s Tokyo Story. Accurate as that description may be, emphasizing the fulsome quiet of the film … Continue reading Top Fifty Films of the 50s — Number Eight
Richard Pryor: Omit the Logic (Marina Zenovich, 2013). Richard Pryor had a life that was singularly amazing (deeply troubled childhood, an impact on the art of stand-up comedy like no other, and a personal life fraught with peril and bad decisions), so much so that it seems almost impossible to contain it within a single film. He couldn’t do it with the thinly fictionalized Jo Jo Dancer, Your Life is Calling, and Marina Zenovich–inadvertently, no doubt–does her level best to prove that the documentary feature format similarly has no hope of containing the man’s unbalanced magnificence. She clicks through the … Continue reading Ozu, Polley, Sullivan, Tourneur, Zenovich
Coffee for Two 