Harakiri (1962 film) Puns

I'm mainly looking for Sci-fi but open anything.

The 2020 live-action Mulan was a shiny movie that ostensibly dealt with honor and love of family, but did not go into the nuance of both. Action sequences were well-choreographed, and the set design was impeccable.

Now, I know the movie had to have Disney stamped over it, but I don’t think that Mulan should be excused for its lack of depth. Other animated films from Disney, like Frozen, have successfully balanced amusement and depth, after all. I’d like to use this post to invite people to watch one of all-time best films that deal with honor and love of family. And no, it’s not Godfather.

The film I’ll be talking about is Masaki Kobayashi’s Harakiri. It’s generally regarded as one of the best Japanese films of all time, and definitely one of the best films not directed by Akira Kurosawa or Yasujiro Ozu. It is one of the most incisive films that offers a commentary on the nature of honor. Ultimately, it suggests that the limitation of honor to only its forms creates a travesty of it: when one only obeys the letter of the law, divorcing humanity from it, one becomes a hypocrite in the process. It is with the same anger and vitriol that Harakiri attacks this mode of thinking.

Harakiri features Tatsuya Nakadai, one of the great thespians of Japanese cinema, as Hanshiro Tsugumo, a masterless samurai who wishes to commit seppuku (ritual suicide) in one of the extant clans during the peace of the Tokugawa era. Among all his roles, Nakadai (also the lead in Kurosawa’s Ran) thought this to be his greatest performance.

The story’s brilliance could be found in its measured, apocalyptic unraveling through flashbacks of the events that led to Hanshiro’s request to perform suicide inside the House of Iyi. At the film’s end, Hanshiro himself wreaks havoc upon such a myopic and sanctimonious view of honor: honor is useless if it is not steeped in true virtue. Honor without heart is merely hypocrisy.

This film is not for the impatient. However, for those who seek to be more sated with a film that reflects upon the true nature of honor, I cannot recommend this film enough.

VIDEO ANALYSIS: https://youtu.be/T9pLPaYAALg

The video goes into these storytelling principles used by Hashimoto Shinobu:

Establishing the Story World It's a specific time when countless samurai have lost their masters and seek a living in a time of peace. So we see why they behave in such extreme measures.

Establishing the Rules of the Game We learn how and why the central ritual of seppuku is important to the characters involved.

Pieces of the Story Puzzle You think you know all about Tsugumo and Motome, but then you realize you don't know the whole story as it keeps unfolding.

Revealing Character Through Action Talk is cheap. The Iyi Clan boasts of their martial valor, but we see their true character through their actions.

Theme There's a powerful thematic argument at play between being human and upholding the tradition of honor.

The Opening and Closing Images We see the same suit of armor on the pedestal, but, in the closing image, we know the change that's taken place.

The runners-up? The Last Picture Show and The French Connection.

40th anniversary edition trailer.

Vincent Canby's New York Times review.

https://en.wikipedia.org/wiki/A_Clockwork_Orange_(film)

https://en.wikipedia.org/wiki/A_Clockwork_Orange_(novel)

https://en.wikipedia.org/wiki/1971_New_York_Film_Critics_Circle_Awards

Hollywood did the old switcheroo at the Oscars - The French Connection took best film and director.
As a young man seeing this movie for the first time in Greenwich Village 10 years after it came out, I was pretty much stunned afterwards, as were my friends.
To anyone who hasn't seen it, beware. This is not a first date movie.

I just watched The Fabulous Baron Munchausen with my 7 year old boy. He loved it and wants to know what we are going to watch next. What surreal / funny movies can you suggest that don't have anything that is inappropriate for a 7 year old?

I'm back again (annoying, I know) to talk about Godard's 1962 masterpiece 'Vivre Sa Vie', or 'My Life to Live'. I don't think I've seen this film discussed before on this subreddit and was really curious to see what people thought of it. Susan Sontag called 'Vivre Sa Vie' a perfect film, which is a bold claim to make, but I think I might agree. I'll keep this review spoiler free, but you can read my more in-depth film analysis here.

I do have a certain penchant for films of the French New Wave, but ‘Vivre Sa Vie’ is one which is particularly close to my heart. Godard’s third feature length film is, for lack of a better word, incredibly human. Nana, the film’s female protagonist, is played by Anna Karina, Godard’s first wife and cinematic muse. Though there is a certain detachedness to the way Nana’s life is followed by Godard’s camera, ‘Vivre Sa Vie’ captures excellently the various emotions experienced by Nana, and lingers on them in a painfully beautiful manner. The camera stays close to Nana throughout, using an extraordinary number of close-up shots to do so. The film itself is, of course, highly experimental in form, reflecting the French New Wave tendencies towards discontinuity and self-reflexivity. What is incredibly impressive, however, is the way in which Godard entwines such cinematographic experimentation with the difficult subject matter he documents. The result is something uniquely magical, a landmark in film history, but also a film which will stay with you for years to come.

In 1962, during an interview about the film, Godard stated that ‘In Vivre Sa Vie I have attempted to film a mind in action, the interior of someone seen from outside’. Testament to this endeavour on the part of Godard is the realism ‘Vivre Sa Vie’ succeeds in achieving, the quaint but never dull documentation of Nana’s life, through which we garner precious information about her dreams, desires, fears, and doubts. ‘Vivre Sa Vie’ is separated into 12 episodes by intertitles which appear anecdotal in their brevity and casualness. They describe small events and happenings in Nana’s life, with titles such as ‘A Cafe in the Suburbs’, and ‘Nana Wonders if She’s Happy’. Whilst one may suppose that such scenes would be exceedingly ordinary, worthy of little cinematic attention, Godard’s skilful use of camerawork and editing utilises such ordinary and everyday settings

1. On Her Majesty's Secret Service: Near flawless, with a great cast, action, cinematography, and plot. Even Lazenby does a fine job despite his lack of acting ability, proving himself in the fight scenes. The pacing is also quite good, setting up the romance with Tracy before moving on to the main threat of Blofeld.
2. The Spy Who Loved Me: After the disappointment that was No Time To Die (which I saw after You Only Live Twice), my love for the already excellent TSWLM has grown. It has an even stronger case for being the quintessential Bond film than Goldfinger and the overrated GoldenEye with the introduction of stunts, mixing a traditional plot with a more fleshed-out Bond, and more globe-trotting than previous films. The score and cinematography elevate what is already an above average entry.
3. From Russia With Love: A huge jump in quality over Dr. No. The cast is perfect, the plot manages to entertain despite lacking the spectacle modern audiences expect from Bond, there are many memorable segments, and John Barry's score immediately shows how much more of a confident product this film is.
4. Thunderball: The film is bloated with many scenes meant to show how much more money could be put on screen. Yet the film remains impressive over fifty years later. In regards to the cast, Connery is more relaxed, Domino is more fleshed-out than her predecessors, and Largo and Volpe are fine villains. The locales are beautiful, Barry's score is even better than his previous efforts, and the underwater scenes have a nice atmosphere despite being often criticized. The climax is one of the best in Bond history.
5. You Only Live Twice: A much sillier entry compared to the previous films, but YOLT benefits from an increased focus on action, great scenery, and one of John Barry's finest scores. The weak links are the cast, whose characters are less interesting, and the less developed plot.
6. Goldfinger: The first hour or so is full of now-iconic moments, but the Kentucky scenes kill the pace for 20-30 minutes. Still, we have another excellent cast, great humour, and some strong spectacle.
7. Moonraker: A well-paced, great-looking film that unfortunately falls into self-parody. It's still a fun film that never fails to entertain, with the freefall stunts and boat chase being quite good. The production values and John Barry's score are far better than they had any right to be. Aside from the absurdity of the whole film, which will either make or break it for audiences,

Hello all,

This is quite an abstract request. I have a keen interest in technology along with the concept of telecommunications, communication and the systems that allow humans to communicate. As such, the life of Alexander Graham Bell fascinates me with his invention of the telephone and his work with the deaf ..or the concept of the telegraph and its morse code language ..or the life of Brian Wilson with his music involving vocal harmonies, the Theremin instrument that’s played without touching it, lyrics about telepathic communication with god or invisible vibrations or themes of alienation, and his personal life involving schizoid psychosis and consequently hearing voices too. All sorts of communication systems interest me like telephones, television, radio communication, satellite communication, telegraphs, morse code, sign language, braille, fax machines, even less natural methods of telecommunication like telepathy or psychotic mental illnesses, etc.

A lot of my favourite movies tend to loosely involve these ideas, like i love Contact 1997 for the technology, map systems, radio communication and the question of whether there’s a god to telecommunicate with, or I love the Mission Impossible films for how omnipresent secret messaging and spy comms tech are, with even the theme song spelling out the letters M I in morse code ( long long short short ). I could go on forever. I recently even read+watched Dune which I didn’t care for but I was really drawn to the telepathy, sign language and in the book there was braille too. Or even if it’s just a small telecommunications scene I don’t mind, like the morse code scene in Panic Room (that scene + Contact + Nell 1994 made me love the theme of communication systems in Jodie Foster films)

I don’t like Arrival though.

Overall any movies centred around the idea of communication systems would be great, or any memorable scenes involving unique systems of communication.

Thank you

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These days we all expect Bond actors to change every decade or so, and there's often speculation over who'll take up the role next. This also happens with Batman, Joker, Spiderman, and other recurring roles. But at the time it must have been a shock to the system when Connery stepped down and, instead of ending the series, Eon replaced him with another actor. I'm just wondering how this was received at the time.

https://icaruspryor.wpcomstaging.com/2021/09/18/2021-in-film-n102-le-doulos-1962-directed-by-jean-pierre-melville/

Jean Pierre Melville once again delivers us a dish of style.

Every time with a Melville you know you are in good hands. The opening of this film is a long talking sequence in an attic all shadowy of course somewhere in a desolate side of paris and shot beautifully and as enriching as it is rewarding.

Things only get personally pleasing from there the late great and young Jean Paul Belmondo is a cold calculated police informer with no issue beating a woman and killing his way through survival all wearing a long coat. Cops, criminals, corruption, heists, betrayal and who’s the rat lurk the mean jazzy noirish streets of Paris in a world that fits me perfectly. It’s like drinking the best kind of coffee that gives you focus and comfort all while a deceptive outcome is right around the corner.

And the jazzy soundtrack … Ah yes…. Shots of neon lit black and white bars in contrast lighting the perfect blend of silence and dialogue, smooth talkers and laconic characters. Nothing is unforseen with a Melville. You’re always in good hands. And for a 60’s film, it’s violent when need be. The best way to describe Le Doulos is as if Nic Refn made Scorsese’s the Departed then you get a good idea. Either way Belmondo may later on dominate his movies,

But this is Melville’s film through and through and it rewards in cool calculated style.

A Suave delightful thrill.

4/5

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This film is still the most difficult film I've ever watched, and I must say I didn't like the film at first, but I've come to see it as one of my favorites. I've been reading about this film for a long time now and I finally got to see it, and it makes me feel like I've never felt before. Robert Wise's film is so well made, and his direction and the direction of Robert Powell are so well matched that it's just astounding. I know that he was a master of direction, and I've read what he said about this film, but I still have never watched a film that I've felt so in awe of. The film is so rich and full of atmosphere that it's hard to explain. The film is so much deeper than the plot, but the plot itself is so fantastic that you forget about the plot and experience the film for what it is. The performances from the actors are so good, that you can't help but be emotionally involved with them. The cinematography is so stunning that you can't help but stare at the beautiful film. The acting is so perfect that you can't help but feel inspired to do great things. The soundtrack is so amazing that you can't help but listen to the songs. The special effects are so perfect, and you can't help but be in awe. The story is so rich and full of meaning, that you can't help but be moved by it. So much emotion is created by the story that it's hard to explain. The only way this film's story can be explained is by saying that it's so rich, so complex, and so deeply meaningful, that you don't want to explain it any more. This film can be appreciated by everyone, whether you want to be a film buff, or whether you want to be a story lover.

The only thing that I can think of that is a problem with the film is the dialogue. There's only two or three scenes of dialogue in the entire film, and even that is mostly in flashbacks. I have seen a few interviews with Wise where he talks about his desire to just make a film of nothing but dialogue, and I think that's a good idea. But I do think that there's too many scenes of dialogue. It's not that the dialogue is bad, it's just that it's too much, and it can feel so much more when you watch it. I think that the dialogue could have been cut down to about 15 minutes at most and it could have worked just fine. But I still think that this film is incredible, and I don't want the movie to be too long. Also, I think that the pacing of the film is a little too slow, and slows down the pace of the film for a couple of scenes. There is a par

Full movie here

"Carnival of Souls" is a 1962 American independent horror film produced and directed by Herk Harvey and written by John Clifford, from a story by Clifford and Harvey, and starring Candace Hilligoss. Its plot follows Mary Henry, a young woman whose life is disturbed after a car accident. She relocates to a new city, where she finds herself unable to assimilate with the locals, and becomes drawn to the pavilion of an abandoned carnival. Director Harvey also appears in the film as a ghoulish stranger who stalks her throughout.

Directed by Herk Harvey, produced by Herk Harvey, screenplay by John Clifford, based on a original story by Harvey and Clifford, starring Candace Hilligoss and Sidney Berger, with original scores by Gene Moore.