tilly_stratford: (Fred and Cyd: Don't mind you watching)
Some people have a type of character they're always drawn to, you know? Like they watch a movie or read a book and they come across this character and he/she/it ticks off all the right boxes.

One of mine: The villain's second in command. A bit foppish, a bit vain, often a little (or a lot) less clever than their boss, but always ready to do some backstabbing if there's something in it for them. The moment a character like that gets introduced I know I'm gonna have a good time.

I'd decided it was high time for me to be exposed to The Prisoner of Zenda. All I knew was it featured fencing and was an extremely influential story. I decided to go for the 1937 movie because it had Raymond Massey as Black Michael and I wanted to finally see a Ronald Colman movie. And it was great fun, and then Douglas Fairbanks Jr. slinked onto the scene as Count Rupert.

I can't believe I've been avoiding Fairbanks Jr. just because I don't like his father's movies very much. That was so dumb of me.

vlcsnap-333367f

The rest of the movie, enjoyable as it was, became secondary. Rupert primly smoking cigarettes, delivering threats with heavy-lidded eyes, cocking his hat, admiring himself in the mirror, wearing very tight trousers. He had more costume changes than the heroine, for goodness' sake. He didn't leave a single box unticked. Now I don't know if I want to watch more Fairbanks Jr. movies or just keep rewatching this one.

Infernal

Oct. 23rd, 2013 08:53 pm
tilly_stratford: (Fred and Cyd: Don't mind you watching)
If you want a recommendation for an excellent horror movie for Halloween, Alias Nick Beal (1949) is the way to go.

Well it's not so much a horror movie as a straight-up noir with supernatural elements, but it's really the first movie I've seen that has pulled that off. Though to be honest, the bits that were supposed to be frightening had me clapping my hands in glee, because they owed more to film noir than any cheesy old monster movie.

Okay so it concerns this straight-as-an-arrow district attorney. You don't watch this movie for him. You watch it for the villain Nick Beal -- and I'm going to spoiler what sort of character Beal is, because that was the reason I watched this film and knowing ahead of time (the movie isn't exactly subtle about it anyway) won't lessen your enjoyment one bit. This is how unsubtle the film actually is: He goes by the name "Nick Beal". Old Nick, Beelzebub. It's a noir retelling of Faust. It's Lucifer as a hard-boiled gangster, and goddamned if that isn't a thing I've subconsciously wanted my whole life. Like, straight up Satan bargaining for souls with a clenched jaw and calling ladies "sister".

Credit goes to Ray Milland for the way he plays him though; He doesn't camp it up, he doesn't go for the effete angle; He just plays a silently menacing tough guy who just happens to be the Prince of Darkness.

Alias Nick Beal


I'm not saying it's a masterpiece (prepare for a bit of a disappointing ending), but gosh if it isn't one of the most fun movies I've seen in a long while.
tilly_stratford: (HB: Steampunk Bush)
I watched Safety Last! on the big screen, the one where Harold Lloyd dangles from the clock face over the city. To my shame, my knowledge of silent comedies up to this point encompass only Keaton and Chaplin (though to be fair I've watched a whole lot of them both), so it's hard not to compare Lloyd to them. So that's what I'll do.

The first thing that struck me about Lloyd is how ordinary he looks. He doesn't have Chaplin's greasepaint or Keaton's unique face; I'd say Lloyd is more handsome than funny-looking -- not handsome enough to base his schtick on that, sure (and I have to say I think both Keaton and Chaplin were quite handsome too), but quite attractive in his own right. With the makeup just accentuating his eyebrows and lips, and only a pair of glasses to hide behind his character (which I've learned is referred to as simply "Glasses") really looks like an everyday guy.

Silent-comedy-titan-Harold-Lloyd-in-Safety-Last-1923

And I get that feeling from his acting too, in a way. To me Lloyd seems way less theatrical than C. and K., he's a bit more low-key, he has a little more subtlety in this double-takes in a way that feels almost modern. I was half-expecting to find he'd avoided vaudeville altogether and gone straight into movies (not the case, as I found out), but I feel I can tell he didn't grow up in vaudeville like C. and K. did. Lloyd's subtleties are pretty intriguing for such an early movie, but they sometimes come at the cost of a good punchline.

The comedy falls somewhere between Chaplin and Keaton for me -- not as sentimental and childlike as Chaplin, not as dark or physical as Keaton. Some good gags, but fairly forgettable (though that monkey crawl through the department store had me in stitches). It's the climb that's the lynchpin of the movie, and the audience and I gasped in turn -- and then I learn there were doubles involved. Disappointing.

See, that's sort of my take on Lloyd. A good actor but not brimming with talent like Chaplin and Keaton -- they were also good comedic actors, but they picked up all these other little things for their entertainment value, and put them in their movies as little treats for the audience. Safety Last! is a fun movie, but it didn't offer any treats, and Lloyd didn't really leave me craving more.
tilly_stratford: (Bogie)
Apparently my late grandmother had quite the weakness for Errol Flynn. She would say my late grandfather's mustache made him similar to the swashbuckler and that was a factor in my grandmother's attraction to him, my grandfather. So in a roundabout way I guess I owe my existence to Errol Flynn.

As a child I was very close to my grandmother, but she hardly discussed handsome actors with my eight year-old self, so these bits of information come to me from my mum.

I've recently been on a Alan Ladd binge, and don't you know, I learn he was one of my grandmother's favourite actors. I wonder what kind of discussions we would have had if she was still alive. I'd ask her if she liked This Gun for Hire as much as I did, whether she preferred Ladd in his Western or noir roles.

In any case, it seems I am genetically predisposed in these matters. I was pondering these thoughts as I made this GIF (which turned out to be WAY too big for Tumblr) of a scrumptious Ladd from his uncredited cameo in the Bob Hope vehicle My Favourite Brunette:


(Well now I know who my favourite blonde is.)
tilly_stratford: (Bogie)
This is a fairly old internet bloggy thing, but I haven't done it so I'm bringing it back out of the internet depths.

The rules are malleable, so here's my take: Twenty actors I will watch in anything, whose names inevitably give me that little jolt of delight when I spot them in the opening credits.

They're not the greatest actors of all time, some of them are more like guilty pleasures of mine, yet not all of them are great delicious hunks. I just love them. Also because it's their acting I love, I've chosen to present them through screenshots where they're in-character, rather than in beautiful promo shots - some from movies I love dearly, some from trash, but they all feature at least one memorable performance.

And because just naming twenty was so hard, I decided to not include actors I mostly known from television (which means no Patrick Troughton, DeForest Kelley, Michael K. Williams, etc.).

Some beyond obvious, some new additions )

Haha, fooled you! Couldn't keep it under twenty-five. You probably wouldn't have noticed if I didn't tell you though.

As for the actors who very nearly made it: They were Hugh Jackman, Lee Marvin, Joseph Cotten, Knut Risan, Hiroyuki Sanada, Dirk Bogarde, Kevin Kline, Raymond Massey, Bruce Willis, James Macavoy and Christopher Lee. Then of course are the ones that I love dearly but I honestly can't say I'll watch in anything - Buster Keaton's talkie sex comedies, any Bing Crosby Technicolour venture...


I plan to do the Twenty Actresses challenges some day, and I've been toying around with some kind of favourite supporting actors list. Meanwhile I've just recieved my very own PVR, and I've already have a massive movie backlist to get through thanks to TCM. Time to get watching!
tilly_stratford: (Bogie)

"You know something, Phil? I suddenly want to live to be very old. Very. I want to be around to see what happens. The world is stirring in very strange ways. Maybe this is the century for it. Maybe that's why it's so troubled. Other centuries had their driving forces. What will ours have been, when men look back? Maybe it won't be the American century after all... or the Russian century or the atomic century. Wouldn't it be wonderful... if it turned out to be everybody's century? When people all over the world - free people - found a way to live together? I'd like to be around to see some of that. Even the beginning. I may stick around for quite a while."
- Anne Revere as Mrs. Green

A movie about anti-Semitism in post-war America that doesn't stoop to cheap sensationalism to get its point across? What a pleasant surprise! I can't remember how it was recommended to me but thank you, whoever.

It even offers one of the most inspirational lines I've ever heard in a Hollywood movie: The hero's girl (Dorothy McGuire), is horrified when faced with her own apathy in the face of everyday racism and prejudice, and the hero's best friend, played by a brilliant John Garfield, gently explains:

"You're not cast in bronze, sweetie." A reminder that we're pliable, we can improve ourselves. Dangit if that line doesn't make me smile.

John Garfield is an interesting (and sad) bullet point in the history of prejudice himself: Born Jacob Garfinkle, he was advised to not participate in this movie because it could potentially stir up a hornet's nest, but he wasn't deterred. He went before the House of Unamerican Activities Committee for his troubles (funny how trying to convey the message that people should be halfway decent to each other meant you were a traitor to your country), was blacklisted (which obviously cut his promising career short) and died from a heart condition potentially worsened by the ordeal. Makes your blood boil.
tilly_stratford: (Default)
Okay not all of them were subpar, I was happy every time I got a fourth-wall joke and a mellow Crosby love song - ANYWAY: I've watched all the Bob&Bing Road movies! Why oh why did they make that last one. Why did they replace Dorothy Lamour (who was still looking great!) with Joan Collins. Why.

I think Road to Utopia still is my favourite. Might be because that was the first one I watched, but also I think Doroty Lamour in that velvet dress singing Johnny Mercer's 'Personality' is so cute:

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Anyway, here's a thing somebody needs to confirm or deny for me: With all this in mind, I came across a post about the Dreamworks movie Road to El Dorado (no I'm not thinking about whether the creators intended for Miguel and Tulio to be boyfriends, that seems like an urban legend to me). See, it sort of clicked. Dreamworks intended it to be a series, right? About two conmen buddies traveling the world? And they get mistaken for something they're not? And they hook up with a badass lady? And there are musical interludes? So either this is one of those homages that are completely obvious to everybody but me, or I need to put the brakes on this Bing Crosby obsession of mine.

Anyway, I've been meaning to rewatch that movie anyway, seeing as the first (and only) time I saw it was on a train journey where I was too self-conscious about watching a children's movie in public to really appreciate it. But I remember being kind of "meh" about it, I wonder why. I mean, the animations is wonderful, I remember thinking the music by Elton John was pretty catchy...

Oh wait. There it is. "Your horse bit me in the butt!" Yup, Dreamworks humour. I think I'll rather stick to The Emperor's New Groove (I've only watched the Norwegian dub, which was uncommonly hilarious, but I definitely need to see the original. Because Eartha Kitt. And Tom Jones.)
tilly_stratford: (Bogie)
I remember a time when to me, a hard-to-find movie meant having to buy it off Amazon. I used to assume that just about any professionally made movie was - or was very soon going to be - commercially available on DVD. Particularly if it said MGM or Paramount or Warner Bros. on the cover.

And then I got into old films. And suddenly I dicovered that not only were there certain big-studio movies that hadn't been released on DVD - some weren't even to be found on video, or they'd been edited, or they were lost forever. Frustrating. But oh so rewarding when you finally, at long last, years into the search, get your hands on a colourized (ugh, I hate colourization) blurry TV bootleg.

I'm talking about Three Strangers (1946), one of those legendary Lorre-Greenstreet movies. You know how I am with Lorre and Greenstreet.


And what an odd little movie. It's about three strangers - one more morally reprehensible than the other - making a wish on a sweepstakes ticket in front of an ancient Chinese idol at the stroke of midnight and - well, you can tell it's a B movie. But what a B movie!

To me the plot is just a minor detail of course, I was mostly just marveling at seeing scenes like these. Where else am I ever going to see Sydney Greenstreet as a crooked lawyer selfconciously trying to seduce an eccentric rich widow? Or Peter Lorre as a cheerful drunk with a Cockney girl mooning over him? And Lorre more or less repeating my favourite bit in Arsenic and Old Lace, grinning apologetically and admitting "...I was intoxicated."

Not as good as something like The Mask of Dimitrios, but ah, it was worth the wait!
tilly_stratford: (Fops with canes are teh sex)
(God do I love that line.)

Aaah I get so excited when I finally get to watch one of the great actors in action for the first time, and I realize that every word I've read, all the praise I've heard, was spot on. Sure, sometimes I get so disappointed I spend the rest of the evening wondering what on earth people see that I don't - but when everything's just right, it's so right.

Tonight's revelation: George Sanders. Who doesn't have a major part in All About Eve, but I was grinning at the screen every time he walked in.

I was so puzzled reading about glamorous leading ladies preparing to leave their husbands for him, or women going to the movies to sigh dreamily at the screen, because looking at pictures of him my immediate reaction was "What, him?" Of all the delicious mancandy to come out of Hollywood in that era, you pick the tall pudgy guy with the thinning hair?

But now. Oh man do I see it. He's a delight on screen. And the voice. That low, low purr with the impeccable upper-class accent. How can you not respond to that? And the delivery. How someone can come across as so sophisticated and lascivious at the same time is a mystery. "Cad" doesn't even begin to describe it.

I definitely need to watch more. Thankfully the author of my favourite film blog is a huge Sanders fan, so I know where to go for suggestions.


ETA: WHOA WHOA WHOA WHOA. He's LORD HENRY opposite ANGELA LANSBURY AS SYBIL in The Picture of Dorian Gray?! JESUS I DON'T NEED TO HEAR SUCH EXCITING THINGS WHEN IT'S ALREADY PAST MY BEDTIME.

By the way

Mar. 14th, 2012 01:42 pm
tilly_stratford: (Buster: kiss)
There is a scene in Now, Voyager where Claude Rains sits on the floor of a living room in a stately mansion and eats roasted weenies.

I'm just casually bringing that up, because to me that is some high-grade timeless movie magic right there.

(Claude Rains is one my favourite actors of all time but I hardly ever bring him up because he was just such an effortless actor, and he had a way of playing supporting characters just right being this soft-spoken British classically trained actor amidst all these loud, beautiful Hollywood people. He never really had a niche kind of career neither like his contemporaries, he played everything, villains and heroes alike. He's well remembered for The Invisible Man and The Phantom of the Opera but those are a bit too camp for me and I really think it was the supporting roles he did best in. It can't have been easy trying to carve out a Hollywood career being so short but his screen presence made up for the lack of height. And jeez I really need to see Hearts Divided already.)

This burst of Rains adoration brought to you by no reason in particular.

tilly_stratford: (Astaire: Wry smile)
There are certain actors I try to avoid seeing in colour. Sure it's fine for novelty's sake (I still have a hard time wrapping my head around the fact that Ginger Rogers' ostrich feather gown in Top Hat was actually very very blue), but for the duration of an entire movie it can be really distracting to me.

To be honest, I think my distaste comes from the fact that the sort of actors and actresses I think were beautiful and handsome and yummy during the thirties and forties were getting on in years by the time colour film were becoming the big thing. Not even tons of makeup could disguise drooping jowls and wrinkles from early Technicolor, boy was that an unforgiving medium. (To me, Georges Guètary looks at least ten years older in An American in Paris than he does in some his later French movies).

I've been thinking about this because yesterday I saw Fred Astaire in Technicolor, and the routine was so good it's probably the first time I've been able to forget that I'm watching Fred Astaire in Technicolor.

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(Too bad this video flattens the colours further - I think I like Lucille Bremer in this scene mostly because her bright red hair reminds me of Moira Shearer).

Trust me to love any storyline involving elegant thieves. And maybe it was due to how for the most part Ziegfield Follies (1945) is a bore up until this sequence, but that step and turn he does at 06:08 had me gasping audibly. I'd forgotten how much I absolutely adore Astaire. Later on in the movie he dances with Gene Kelly you know, in their only real teamup ever - which in turn reminded me how much I love Kelly (who sure fills out that suit in a way Astaire never could, mmmm those legs).
tilly_stratford: (Bogie)
I was so certain I'd watched To Have and Have Not years ago, but it kept nagging in the back of my mind, so I sat down to watch it yesterday - and no, I hadn't (a bit like The Big Sleep, only I've watched that several times and yet I can never remember it). As much as I love both Humphrey Bogart and Lauren Bacall, I have some trouble keeping the movies apart.

Anway, strangest thing... Or not strange at all, but an interesting coincidence: There's this song I discovered several months ago via the magic of Spotify and that I completely love to bits. Yesterday I'm watching To Have and Have Not, and then - hey, I know that intro!

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(Interesting how they rewrote the line about opium and yet the audience laughs like the punchline's still there.)

What I didn't know was that Hoagy Carmichael - the guy at the piano - is the man who wrote it. I've seen it credited to Johnny Mercer and even Spike Jones, but nope, it's Carmichael's.

Then I looked around a bit and I can't believe all the famous songs he's written; 'Stardust', 'Two sleepy people', 'Georgia on my mind', 'Small fry' (again, I was certain that was Mercer's), 'In the cool cool cool of the evening', and get this; 'Heart and soul' (which by another amazing coincidence I finally learned to play on the piano only a month ago)! I don't know why, I've always assumed 'Heart and soul' to be one of those always-been-there tunes with no known composer... Maybe everyone knows it was written by this guy, but I certainly didn't.

And he recorded several songs with my favourite clarinet player, Bix Beiderbecke. It's like the universe decided to give me a present!
tilly_stratford: (Astaire: Wry smile)
I know I'd sworn off Capra movies, but then I read some line from Platinum Blonde (1931) that made me laugh, and decided to give it a go. I'm glad I did!

Not only did it make me realize that yes, Jean Harlow definitely earned her status as a Sex Symbol (which certainly doesn't come across in plain pictures, but wow, watching her on screen is spellbinding), but it also made me fall completely in love with the male lead, Robert Williams.


I mean, that easygoing Clark Gable-type charm! That witty delivery! His obvious chemistry with Harlow! Those eyes! I thought, "Why hasn't anybody told me about Robert Williams! He should be up there alongside Spencer Tracy and Jimmy Cagney and James Stewart! I need to see his entire filmography ASAP!"

See, funny thing about Robert Williams... Turns out, Platinum Blonde was his first big role. Also, he died three days after it premiered, of appendicitis.

Ahhhhh darn. At least I appreciate that I'm not alone in thinking he'd really been considered one of the great actors of the 1930s had he lived.
tilly_stratford: (Bogie)
There's just something about keeping list that seems so... satisfying!

So here we are, list of this year's movies (short films, documentaries and rewatches not included).

Movies 2011 )

All in all I feel the list isn't as varied as it was last year, but that's probably because I haven't had the money to go to my beloved film club this semester. On the other hand I've been watching a lot more foreign movies ("foreign" as in non-English) than usual.

A good movie year, I think.
tilly_stratford: (Holmes: Curious collection)
The Son of Frankenstein was different than I'd anticipated, not going for the same sympathetic approach the previous movie did, but it was still a delightful straight-up horror movie. I got a kick out of the lampshade hanging about how the majority of people seem to think Frankenstein is the name of the monster, that got a titter out of me.

Aaah Basil Rathbone, supreme moustache wearer of my heart. I was half expecting him to just do a carbon copy performance of Colin Clive's role, but I was delighted to see him bringing his own very English, jittery (and gloriously camp) approach to the movie. He was a delight to watch.

And oh, I wound up loving Ygor in spite of everything, but that's definitely Bela Lugosi's charisma affecting me and not the script. Put Karloff, Rathbone and Lugosi in a scene together and Lugosi's sure to steal the scene every time. Wonderful.
tilly_stratford: (Fops with canes are teh sex)
I have a very vivid memory of watching Frankenstein and The Bride of Frankenstein back to back at Snook's place one winter evening when I was nineteen, but as a result I've always had trouble separating the plots in my mind. Then with [livejournal.com profile] _grayswandir_'s Karloff appreciation and the fascinating essay Neil Gaiman once wrote about the latter movie, I've had the idea for a while that I should do some rewatching.

I cheated and went straight for the Bride though. And it's always odd for me to rewatch a movie I only have some vague memories about, and then being blown away in a way I'm pretty sure I wasn't the first time. It took me a couple of years to be able to enjoy old movies the way I do now, somehow. Something about being more patient with how a movie unwraps itself, and being able to filter out the things that seem dated today.

But anyway, Karloff is wonderful and actually made me choke up a couple of times; Nobody screams "Alive!!" like Colin Clive; Doctor Pretorius is an amazingly captivating character; That laboratory looks absolutely amazing with the sparks flying and flashing lights, and even if she only appears for a few minutes there's something indescribably thrilling about seeing the monster's mate.

Ahh, I love being pleasantly surprised.

Also came over this bit of trivia at IMBD:
Claude Rains was offered the role of Dr. Pretorius but he was unavailable due to filming Mystery of Edwin Drood.
At which my first reaction was "Oooooh I'd surrender my left arm to watch Rains do that part" and then "Wait holy shit Claude Rains was in a movie version of Edwin Drood?!"

It's not good, is it? It's probably not good, but my God I think I need to watch it.
tilly_stratford: (Buster: kiss)
I've been telling myself I should get back to acquainting myself with early classic comedy. I've been sort of doing it on the sly by watching some Mack Sennett shorts, but to be fair I only slog through them to hear Bing Crosby sing.

But I did come to the conclusion that it was shameful of me never to have watched anything by Laurel and Hardy (or "Helan and Halvan" as they used to be known in Norway), so tonight I sat down with The Flying Deuces, and the most open of minds.

To be honest, I'm not sure I see what makes them stand out in comedy history. I'm not sure what their hook is. All I saw were old slapstick routines done in a talkie, without the inventiveness of comedians like Chaplin or Keaton, and without the benefit of a handcranked camera that could speed up action and make it look more fluid. I was disappointed, I expected something more memorable, more unique.

I admit I am not a big fan of early talkie comedies like these. There was this period where nobody could quite figure out how to move on from the silent films, and wound up with very awkward, clunky comedies. The Marx Brothers worked because they had Groucho's sophisticated jokes, and Chico's musical interludes. Chaplin worked because his early talkies only had minimum of talk in them (and the faux-Italian singing in Modern Times, I love that). I didn't see Laurel and Hardy using the medium very well.

Maybe I watched the wrong movie. Maybe I should try one of their early silent films. Or maybe I'll just accept that this wasn't for me, and move on. (I should get on with seeing some Harold Lloyd one of these days. And you know, I've never watched anything of the Three Stooges either).
tilly_stratford: (Bogie)
I've made a resolution to watch more British movies (though so far that seems to have translated to "watch more James Mason movies" for some reason), so tonight I finally sat down to watch Odd Man Out.

I could go on about how much I love Carol Reed's direction, or how intriguing the cast of characters are, or how surprised I was to see William Hartnell outside of Doctor Who -

But you know, I had no idea James Mason had such great hair. Amaaaazing hair.

Also I think Robert Newton wins the prize for Most Depressing Biography on IMDB ("Everything he had was ruined by his alcoholism lol").
tilly_stratford: (Astaire: Wry smile)
I was at the library, picking movies to tide me through the weekend when I read the cover of the Kurosawa movie The Scandal and had to snicker. It began something like (in Norwegian): "The handsome and smooth Toshirô Mifune plays Ichiro, an artist who [...]"

Ignoring how weird it for a professional movie synopsis to immediately start telling me how attractive the main actor is before even mentioning the plot (or bringing up the physical appearance of the actors, period), what's up with the ambiguous wording, "smooth" (glatt) there? In Norwegian I take it to mean one of two things, either smooth as in hairless/smooth-faced (because I guess Mifune usually had some chin fuzz going in most of his samurai movies, or maybe it's to bring attention to how young he was at the time?) or the more negative glætt, i.e. someone who thinks they're charming but comes across more as insufferable or obnoxious.

Well, it didn't intrigue me enough to actually get The Scandal anyway, at least not today. Actually I tried to watch another early Kurosawa/Mifune movie last week, Nora Inu, but it's officially the first Kurosawa movie I couldn't get through. Between this and Hakuchi (The Idiot) I'm starting to think that contemporary-set Kurosawa movies just aren't for me.

So no Japanese cinema for me this weekend, though I've got both Korean and French movies in addition to the usual British and American ones.
tilly_stratford: (Bogie)
Ah man, why have I kept putting off watching Sanjuro? That was kind of awesome! Definitely more my kind of thing than Yojimbo.

Well for one, Sanjuro takes itself a lot less seriously than Yojimbo. I have definitely never laughed out loud this much during a Kurosawa movie before! Sanjuro himself is as invincible and untouchable as before, taking some of the excitement out of the story, but he's slightly more human - even though this might be one of the more stylized Kurosawa movies I've seen in terms of characterization. The movie have the purity of a fable about it; The story of an eccentric ronin, nine naïve warriors, two dotty ladies, a cuddly hostage in a closet, and an army of bad guys.

I realized this movie was quicker to engage me than other Kurosawa films too. At the beginning, when Sanjuro tells the crying servant girl she should go back to the hostage situation she has just managed to escape from, and she sets her face in determination and goes back, I got so mad because Jesus, way to send a girl to her potential doom to save your own skin. But then Sanjuro mutters, "There goes a true samurai." and my heart nearly couldn't take that amount of awesome. Aaah that might be my new favourite Kurosawa moment.

And halfway through the movie I thought to myself, "Hey! For once I'm going to be able to write about a Kurosawa movie without going on a tangent about how Toshirô Mifune's good looks shakes me to the very core of my womanly nature! I mean, come on, he's still an awesome actor at this point but physically he's past his prime..." and then - BAM!


AAAAA MIFUNE STOP IT YOU'RE UNDERMINING MY IMAGE AS AN OBJECTIVE CINETAST.

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