View this review at Noripcord.com
It's a pleasure to peek into the cognitive process of Takeshi Kitano, famous Japanese painter, actor author poet and director, as he jests at his own creativity in Glory to the Filmmaker! In a movie of self-centered analysis and introspection, Kitano delivers a few laughs along with an entirely sarcastic view of himself and film making worldwide.
The comedy pays homage to his life work, and crosses a broad range of filming styles common to Japanese film. There's the gangster movie, manzai comedy, J-horror, samurai sword-fighting, romance and sci-fi, each presented as though they were past ideas that eventually flopped. The persistent gag is a metal/paper dummy used as Kitanos' double in physically jeopardizing scenes. During these scenes the rest of the cast notices who's getting the better treatment while amusingly performing the stunts themselves.
He consistently includes himself in his movies as the main character, and makes further satire of his work by defying the accusation that he only makes movies of one genre, gangster flicks. It is a fact that in his earlier work he mostly portrayed the role of the gangster boss or die-hard Samurai. Consequently, in Glory to the Filmmaker! there is a ridiculous contrast in characters, with unusual roles like a drunken wife-beater, an impotent bodyguard and blind painter. One captivating aspect of his directing is how he makes action seem more authentic. He is known to shoot only one take, so as to take advantage of spontaneous events.
In 2007, the Venice Film Festival introduced a new award: the Glory to the Filmmaker Award, which was named after Kitanos's film. He was also its first recipient. This movie is a perfect introduction to the work of Takeshi Kitano, and sheds light into the way a mind like his works. His filmography is extensive: Zatōichi, Dolls, Violent Cop and Brother are already widely acclaimed masterpieces, and are all highly recommended.
10.10.08
Glory to the Filmmaker - Takeshi Kitano (2007)
7.10.08
Buraka Som Sistema - Black Diamond (2008)
View this Review at NoRipcord.com
Buraka Som Sistema appeared out of nowhere two years ago with the EP From Buraka to the World bringing Progressive Kuduro to the underground dance scene in Portugal. Since, they've become a virus, an international phenomenon with a new album Black Diamond out this summer '08. Buraka Som Sistema takes us on a ride through an ethnic myriad of music, from Africa to Brasil to London to Buraca, Amadora, a suburb of Lisbon.
Kuduro has its roots in Angola, and is more specifically a style of dance which evolved into a musical genre. Buraka Som Sistema, from the three electronic producers Lil'John, Riot and Condutor, is best characterized by imagining a techno beat performed by deep african drums and percussion, permeated with electronic glitches and powerful basslines.
Tracks like Kalemba (Wengue Wengue) top the charts, but others give light on how the style arose from traditional African dance. The strength of the drums in New Africas Pt. 2 are enough to make anyone break into spontaneous dance, such is their energetic density. Buraka Som Sistema has achieved new heights with Kuduro, fusing it with Brasilian Baile-Funk (Aqui para Vocês), London Grime (Black Diamond), and various other styles of electronica, all while maintaining a very earthly and authentic sound. The fusion aspect is most interesting, for it appeals to a wider audience and makes the experience more accessible.
Published by Enchufada and Sony BMG, Black Diamond has contributions from M.I.A., DJ Znobia, Saborosa, Puto Prata, Deize Tigrona, Pongo Love and Bruno M, adding to the mix of talented artists and messages delivered.
Ultimately, Kuduro is dance music. Home-listening is fine, but the real experience is live, with hundreds beating their feet in time and MC's chanting the party to even greater insanity. The album makes the blood boil and gives a good idea of what to expect at such an event. It's definitely worth a listen, if only to expand musical horizons and get a taste of other cultures.
5.10.08
London (2005)
How does it feel to be left by your girlfriend/boyfriend? What is the pain like? Have you ever tried to describe it? Are there different levels of pain? Is mine greater than yours? These are the questions posed by London, and makes for an interesting experience while trying to answer them.
Chris Evans portrays the shat upon boyfriend, who after six months of a break-up, is still having trouble dealing with the emotional pain. The story takes place mostly at his ex-girlfriends' going away party, which he decides to attend uninvited. He installs himself in the bathroom with Jason Stathams' character, a banker and part-time cocaine dealer, and they both consume vast amounts of drugs. We're led along the highs and lows of the relationship through a series of flashbacks and philosophical discussion.
Relationships are tough, they're never perfect. In several flashbacks we see the innocent, trodden boyfriend being a veritable jackass with his girlfriend while arguing on the topic faith/religion, in others we see him spoiling her with expensive gifts, unable to express himself otherwise. The two cocaine-addled minds revolving around this subject culminate in a "who suffers more" battle, which plays out interestingly. In the end, he emerges from the bathroom in an attempt once again to sway his beloved from leaving.
London succeeds in its relationship with the viewer, dealing with a subject most people can identify with. It suffocates the heart, brings waves of nostalgia for those who can relate, and makes an effort to use those cliché phrases we've all lived through. The message isn't uplifting, but in the end, a learning and thoughtful movie.
Posts
