Filed under: Cinema of Japan
An International Masterpiece of World Cinema, Gojira is by far the staple of the Science Fiction genre and the prowess of Classic Japanese Cinema. Now celebrating over a Half-Century since the 1954 debut, Ishirô Honda’s Gojira continues to reveal itself as far more than simply the Monster Film for which pop-culture has recognized this Epic story of Human Nature. Directory Ishirô Honda trained under his discipline at TOHO Studios, at the time one of Japans premier film studios. Although best known for his work in Science Fiction cinema, Honda found a more fulfilling design to his work, both politically and intellectually. Initially titled project “G” for giant, Gojira was an unlikely film for its time in Japanese Cinematic history, and especially so considering Japans withdrawal from one of the most dramatic chapters in Human History.
As a Documentary Filmmaker, Director Honda, Story Writer Shigeru Kayama, and Screenwriter Takeo Murata explore the story of a Prehistoric creature, awakened by the rupture of an Atomic weapon detonated within the Pacific Ocean. Honda and Kayama allow their audience rich sub-text and provide substantial reference to develop a rather concise and altruistic portrayal of these many Human characters. A critical portrayal on intergeneration politics and the responsibility which our lives carry, Ishirô Honda and Shigeru Kayama provide an encompassing philosophical analogy on the ethical and moral paradox of a century on the cusp of self destruction and presents the sacrifice from which a New Era in Human History was engendered.
The Focal Characters of Gojira, unlike Western films of the same era, are far from the anecdotal Action Heroes found in such films as King Kong. Further, Honda and Kayama present these characters and the events which unfold through a complex of intertwined lives, connected either through family or profession. However, the substance and reference which frame these characters are found in their moral construction and the consequence of their actions. Perhaps the most significant character we are presented with is Dr. Serizawa-hakase (Akihiko Hirata), whom although is disciplined in his manner, is conflicted by the discovery of his work – the Oxygen Destroyer. Essentially a weapon the caliber of the Hydrogen Bomb, Dr. Serizawa’s Oxygen Destroyer is all which can redeem Humanity from Gojira’s threshold. Though reluctant to recognize what others see as the answer to Gojira, Dr. Serizawa holds the conviction to examine and learn from this creature.
As Film makers, Honda and Kayama portray the Human Nature to great effect. In the midst of catastrophic danger, these Characters and those near them strive towards the perseverances of their own identity, as a reflection of their own conscience, even as a nation of people converge. Over the course of eight years, Honda was drafted by the Imperial Army three times, eventually becoming a POW during the Atomic bombings of Hiroshima and Nagasaki and Japans eventual withdrawal from World War II. Upon his return to Japan and his haunting discovery of the aftermath suffered by his countrymen, Ishirô Honda had uncovered the deepest wound from his service to the Imperial Army, but more so, to the Honor and Sovereignty of Japans great ambitions. The reality and consequence of War had proven to be an overwhelming devastation. Director Honda and Writer Kayama soon found opportunity in this almost accidental story; the product of another failed project resulting from heightened political tensions in the East.
What allows Gojira to preserve and persist, both politically and socially, and triumph as far more than what is expected from a Film of this genre, is due in great part to the Literary excellence of Shigeru Kayama. It should be know that Director Honda was determined to make the argument towards Weapons of Mass Destruction on the moral principal of the Characters and Storytelling of this tragic Film. Even after the recent withdrawal of American censors from Japan, Honda knew that for this warning to be received, it could not be that Gojira was an anti-American film. If this were so, Gojira may have been nothing more than propaganda – no more like the Japanese before, or like the Americans later. For Director Honda, Gojira was not the manifestation of antagonistic political tension directed towards America and the West. Gojira was an Allegory, a correlation, and the manifestation of what today has evolved in Nuclear War. For Honda, Gojira was a protest that Human Life not destroy itself beyond recognition.
Filed under: Cinema of America
Directors Cut: Introducing his first Theatrical Release, “Napoleon Dynamite,” Director and Co-Writer Jared Hess maintains a simplistic and direct visual style, although allowing for substantial and well paced storytelling. The seemingly awkward Soundtrack, which collectively illustrates a reflective profile of Characters, is memorable and successful in inspiring the appropriate tones for almost every scene.
Taking place within a setting of rural suburban Idaho, Napoleon Dynamite (Jon Heder) lives with his Grandmother and Middle aged Brother, all of whom provide an unavoidable foil to the apparently disengaged Napoleon. In confronting his predictable school day, Napoleon is himself confronted by a his classmates which, though typical in the roles they play, work to create the canvas of interestingly modeled characters.
As an isolated and underappreciated teenager, Napoleon later befriends Pedro (Efren Ramirez), a reserved and unaware student from Juarez, Mexico, whom together find friendship as they run for class president. Afterwards, in search for their date to their school dance, Napoleon and Pedro discover Deb (Tina Majorino), a soft-spoken and warm-hearted girl whom becomes the center of Napoleons ambitions in life.
In retrospect, the character development of these characters presents a rather contradicting, yet rational closure. Although we are inspired by the sense of satisfaction as these characters find success and fulfillment in their young lives, their apparently seems to be a sense of perseverance towards their personalities.
Director and Writer Jared Hess contrives his Films with such plausible and acceptable characters, which develop into such memorable Cinematic Stages. The Film is unassuming, allowing the viewer to casually be entertained by an otherwise unpredictable and rewarding story of rather aspiring characters. As a Writer, Jared Hess traditionally enjoys portraying underappreciated characters; allowing them a window of opportunity in their lives to aspire to their goals, redeem their self confidence, and get the girl.
Conservatively, however, this concept is reminiscent with the archetype models of most mainstream Hollywood Films. For Director Jared Hess, the portrayal, circumstances, and delivery of his Characters and Storytelling are what allow him such recognizable Cinematic and Literary style. As a Film that was committed by a Cast and Crew of independently motivated Filmmakers, “Napoleon Dynamite” has established itself throughout pop-culture and is extended by a strong following in its original style and humorous references.
Editors Cut: The Supplementary materials include over an hour of Documentary projects, including “On Location: Napoleon Dynamite” and “World Premiere: Jared Hess,” composed of a non-linear montage leading to the Premiere of “Napoleon Dynamite” at the Sundance Film Festival. Addition materials include Extended, Alternate, and Deleted scenes which allow a more casually paced humor initially intended for the Film. Sparing no expense, the Audio Commentary behind these scenes look into the real life stories by Cast and Crew that influenced many scenes throughout “Napoleon Dynamite.”
Providing an even interesting look at the Casting of “Napoleon Dynamite” are the included Audition tapes; which upon review of the secondary Cast Commentary on the Main Feature, will reveal to have substantial relevance beyond simple aesthetics. This holds especial true with regard to Actress Tina Majorino and Actors Efren Ramirez and Jon Gries, whom recall the events leading to their Auditions and their first accounts of their roles. A summery by Casting Director Jory Weitz further illustrates the many creative and experimental processes of the Cast and Director and Co-Writer Jared Hess.
Directed and Written by Jared Hess during his studies in Film and shot over two days, “Peluca” is the Black & White Original Short which inevitably lead to the inspiration of “Napoleon Dynamite.” Audio Commentary by Director Jared Hess and Actor Jon Heder reveal a number of early Story and Character concepts later revised for their Feature Length Film. Living to the “standard” of being “Like, The Best Special Edition Ever!,” the inclusion of “Napoleon (and Pedro) Sightings” reveal a great number of appearances by Actor Jon Heder as Napoleon in sketches from the 2005 MTV Movie Awards, the 2005 Teen Choice Awards, and an Opening of SNL.
However, it should be noted that the most humorous, if not appropriate, are a trio of Television Ads for the Utah State Fair, which feature Actor Efren Ramirez as Pedro. Special mention should be made of the well produced and fully animated menu screens, featuring visual themes and references from the Film with additional sound bites. With Dolby 5.1 Surround, English and Spanish subtitles, and substantial Audio Commentary by Cast and Crew to considerable length.
Final Cut: Overall, “Napoleon Dynamite” has presented itself as a story of very human Characters, which somehow either reflects some part of our nature, or compliments our lack thereof. For Director and Writer Jared Hess, the creative formula and sense of originality are what allow his now anticipating audience to explore these Characters and Stories through Cinema. Truly, the success of “Napoleon Dynamite” speaks to the cultural impact on modern life which independent filmmakers continue to perform.
Filed under: Cinema of Britan
Directors Cut: For Director Danny Boyle and Writer Alex Garland, making their audience aware of the dangerous reality of the world they inhabit has become their signature style in relating a story. In pursuing to confront the preeminent struggle of the often dark, chaotic, and anarchical nature of human life, more often than not, very little exception is made.
Nevertheless, we are always conflicted somehow in knowing that the world projected on screen is not far from the reality we have created today. It is in this that “28 Days Later” strikes a nervous chord with viewers, inspiring emotions of angst and despair. Taking into account the many number of biological and chemical threats which society, as a whole, must endure today, consider the fact that the greater majority of these threats are man made.
Entering a world four weeks after an unidentified and irreversible virus is introduced through an epidemic outbreak, Jim (Cillian Murphy) awakes from a coma locked in a lone and abandoned London hospital. Once being reintroduced into the world after suffering from a vehicle collision in the midst of the ensuing chaos, Jim finds himself alone yet again. Stumbling through the debris and aftermath of a seemingly post-apocalyptic Central London, Jim begins to understand that the world he expected to find may no longer exist.
“People killing people.” This said by the conflicted, though sympathetic, and still very compassionate Maj. Henry West (Christopher Eccleston); whom together with his British military unit have established a military holding in which they host “… the answer to infection.” After a painful and unsettling encounter filled with abandonment and an ever growing sense of isolation, Jim finds a cast of characters, each as human and scarred as himself. Jim is quick to realize, “We need them just as much as they need us.”
Though after becoming infected with Rage, his attachment to these characters comes to an abrupt end, as Jim is confronted with the ultimatum of quickly disposing of his infected companions in a highly disturbing and inhumane manner. To Jim, this is an obstructive realization of such a grave state of existence; only gradually awakening to the reality which surrounds him after falling into a state of awe, shock, and denial.
Although seemingly an uncompassionate and disregardful of others in ensuring their own survival, the undertones and inconsistent development between Jim and Selena (Naomie Harris), proves to be their strength in this forsaken ordeal. Their own sympathy for Hannah (Megan Burns), further supports their efforts towards survival, while also invoking a sense of hope.
Like in his work on “The Beach,” Writer Alex Garland pairs distant, otherwise incomparable characters, which sympathize with one another, revealing the human effects to this story. Although categorically a Horror film, “28 Days Later” approaches the genre in an unexpected and highly unconventional manner; driving many rich story elements with deep, dynamic characters that draw an audience towards an unpredictable and suspenseful closure.
Editors Cut: The Special Features of this Widescreen Special Edition release are well substantial, providing a truly supplemental insight through the Development, Production, and Insparation behind “28 Days Later.” The featurette, “Pure Rage: The Making of 28 Days Later,” provides an account of the international climate which argues to the plausibility of an outbreak the scale of Writer Alex Garlands “28 Days Later.” Taking into account the development of Cloning, Gene Therapy, Stem Cell Research and Bio-Chemical attacks of the past two decades in world affairs, this decisive look into the reality of the Twenty-First Century will challenge the way in which you live the everyday life.
Additional materials include three Alternate Endings, Animated Storyboards, and Still Photo Galleries with Audio Commentary by Director Danny Boyle and Writer Alex Garland. The context of the Audio Commentary, as an over-simplification, are simply entertaining, insightful, and both highly educational and informal on a scene-by-scene basis throughout the film. An additional Jacknife Lee Music Video provides an interesting montage of the film, retelling the many accounts through musical narration.
Arguably the most attractive of these features are the inclusion of Director Danny Boyles Alternate Endings, with full Audio Commentary and detailed reviews and debate on the Final Theatrical Release. Additional Extended and Deleted Scenes, with further Audio Commentary, develop a concise and full exploration of “28 Days Later.”
Final Cut: To suggest that “28 Days Later” should be considered as yet another addition to the Horror genre, amongst a number of “Stamped and Pressed” films, neglects to recognize the Cinematic and Literary prestige of Director Danny Boyle and Writer Alex Garland. Although a Horror film nevertheless, “28 Days Later” is the work credited to one of modern Cinemas most original, expressive, and unconventional creative collaborations of the past decade.
Conventional Horror films use graphic imagry, if not over emphasise its presence, to expliot the Human expression of emotion and thought. The moderate application of graphic imagry in “28 Days Later” speaks to both the authentic and masterful use of Cinema and Story; creating memorable emotions through Story and Character, only then revealing the skillfull reflection of eruptive imagry to reinforce genuien emotion.
Filed under: Cinema of America
Directors Cut: Peter Gibbons (Ron Livingston) is a lost, deranged, and soon-to-be disgruntled employee of software giant Initech. However, the landscape of the office – almost another character by its own right – sets the backdrop to represent the habitual, commonplace, (and to greater affect) inhibiting workplace.
Although comical at times, Director and Writer Mike Judge works to emphasis the collective identity of “Corporate Culture” in present-day America. This is furthered when confronted with a set of characters which have realized the end of a journey after college, realizing themselves with half of their mid-twenties lost to a cold, disengaged, and exploitive cultural phenomenon – the corporate office workspace.
At a time when layoffs threaten to abandon them in the midst of an outsourcing boom, Peter Gibbons and two best friends, Smair Nagheenanajar (Ajay Naidu) and Michael Bolton (David Herman), revolt in an act of redemption in planting a computer virus within Initech, effectively embezzling hundreds of thousands of dollars.
Along the way, our Protagonist learns what matters most to him in his life through a series of obstacles with both love interest Joanna (Jennifer Aniston) and confronting his suppressive workplace “Boss,” Bill Lumbergh (Gary Cole) in a progressive act of “whole hearted” optimism in knowing that nothing can prevent him from leading the life he seeks in happiness. This film speaks truths to the many which, unfortunately and undoubtably, empathizes with this trio of characters which reflect the modern American.
Editors Cut: Though it be unfortunate to say, this “Special Edition” of Office Space neglects to provide any printed materials. This comes as a stark contrast to what was expected from a film of such great cultural impact. Among other features are new animated menu screens featuring character sound bites. Adding substance to these features is “Out of the Office: An Office Space retrospective with Mike Judge,” which provides an interesting interview with Cast & Crew on the high context characters, their inspiration in Office Space, and the origins of Milton.
Other interesting, while also satisfying, are eight Never-Before-Seen Deleted Scenes – including “Peter Lies to Lumbergh” & “Peter Goes Off on Nina!” However, this Special Edition extends itself from your television to your monitor as well. With Screen Savers, Wallpapers, Icons and Sound Bites, the DVD-ROM features compensate well enough in providing more interactive materials for fans. With Dolby 5.1 Surround and both English and Spanish subtitles.
Final Cut: To necessitate that an argument be made in persuading another to add this film to their personal collection is unjust and without any need for reason or logic. “Office Space” has inscribed in American culture the remorse and revelation of a “renewed” generation in American history.
Writer and Director Mike Judge has captured the spirt of American life at a time in which it sought to reinvent itself as the fathers of their past during a time of industrialization. With ample, if not adequate, additional content and material, “Office Space: Special Edition with Flair” is an absolute essential to contemporary American cinema.
Filed under: Uncategorized
The editing process of a film is broken into three basic stages: First is the Editors Cut (“rough cut”) which matches the script without any reductions. This presents features and materials. Second is the Directors Cut, which is reduced from the rough cut according to the director alone. Here, an objective, substantial, and critical review. Third is the Final Cut which, often approved by the director alone, is initially released. A final summery of the film.
