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Pinwheel Hamakichi's Spell (1992)
A JIDAIGEKI UNLIKE ANY OTHER!
When you watch a Japanese period drama series ("Jidaigeki"), the plots of each episode usually follow the same pattern: a wrong has been done or a crime committed, the protagonist investigates and uncovers the villains, then the villains are either captured or dispatched in a glorious one-against-many fight and all ends well.
Not PINWHEEL HAMAKICHI'S SPELL. And I'm delighted that this is so!
For one thing, our title character, Nezu Hamakichi (formerly Itachi Hamakichi) is a former police investigator ("doshin") who has lost everything: his job, his home, his family and his honor...all because he tried to save his sick wife's life but broke the law to do so. For this, he was banished from Edo (now known as Tokyo), forced to leave his family behind. While he's not the first Jidaigeki protagonist to be a tragic figure (Ogami Itto in LONE WOLF AND CUB is a prime example), it does make him more human. Five years later, he returns to Edo and slowly starts to rebuild his life, earning a living as a maker/seller of pinwheels.
While it is quite common for a Jidaigeki protagonist to help people he comes across, it's usually because he's a traveler or wanderer. Not Hamakichi; the people he helps usually cross his path purely by accident/chance at his little stand outside a temple. Of course, since he's a disgraced former officer, he can no longer enforce the law, but his intelligence and investigative powers are still sharp enough that law officers come to him for help (unofficially, of course). Despite his previous suffering, Hamakichi isn't bitter and refuses to take up the jitte again when it's offered to him, saying that he knows he's no longer worthy of it, but he has a strong sense of justice and realizes/knows that the law and justice are not always the same, thereby displaying an integrity that is both touching and realistic. Also, from a man who has lost it all, throughout this short series he builds friendships and real emotional connections with people (especially children). This man genuinely CARES for people.
There are other things that makes this jidaigeki unlike any other, and one is that not all the episodes end happily. There are one or two episodes that really tug at the emotions where, despite Hamakichi's best efforts, events conclude unhappily, and this is a refreshing change from a lot of Jidaigeki stories. Another factor is that the stories concentrate on the commoners and ordinary people of Edo, NOT on the great clans/families or on the shogunate; you won't see a single ninja or samurai duel in THIS series! While there are at times violent acts committed, you never see Hamakichi take up a katana to battle the villains (a couple of times he may use a knife), instead using his physical prowess to fight. One other thing that is refreshing...Hamakichi doesn't have a kimarizerifu (repeated catch-phrase) for when he faces the bad guys.
The acting is remarkable for a Jidaigeki, never overblown or overdone but remarkably restrained and realistic (including the children). While the cast list here in IMDB is incomplete, I'm fairly certain that Hamakichi is played by the noted actor Tatsuya Nakadai, and he does an incredible job. This series is also filmed on videotape instead of film, which I enjoy because it makes things look more realistic.
All in all, a very refreshing change in pace from most Jidaigeki, and I highly recommend it. To my knowledge, it hasn't been released on video or DVD (especially not here in the U. S.), but the six episodes that make up this series can be found on YouTube.
Dark Night of the Scarecrow 2 (2022)
40 YEARS LATER, THE SCARECROW OF VENGEANCE RETURNS
When I heard that one of my favorite cult classics, DARK NIGHT OF THE SCARECROW, had gotten a direct-to-video release, I was very excited, especially since it would be directed by the same person who wrote the original film.
I have now seen the film, and while I have to say that it doesn't quite measure up to the original, it does have something to keep the viewer occupied. The plotline of a woman and her son reluctantly relocating in the area where the events of the 1981 film took place and becoming drawn into mysterious acts of supernatural vengeance does make for a good film. The plotline here seems somewhat more complicated than the original, staying more in gray areas of moral ambiguity rather than of right and wrong, while the original was a straight tale of supernatural vengeance and you could definitely tell who were the villains (I'm very glad that the events of the 1981 film ARE referred to in this film); perhaps this is due to the different directorial styles (the original 1981 film was directed by the noted writer Frank De Felitta, while this film was directed by J. D. Feigelson, who wrote both screenplays). I understand that times and tastes change and 40 years (both in real time and in the films' timeline) have passed and I respect that. Two stories of supernatural vengeance in different time periods but the same avatar of vengeance should be told differently, and this 2022 version does a good job of eventually bringing the different plotlines together for an unexpected climax (the reveal of the REAL villain was one that I never expected!).
Now onto the drawbacks. I was not happy about that while in the original the vengeance scenes took place at night and the person responsible was never shown on camera, in this film some of them take place in broad daylight and there are slight glimpses of the person enacting them. There is a lack (or seeming lack) of a musical score in this sequel (I particularly loved Glenn Paxton's score in the original film). While I don't fault their acting or the screenplay, I don't get the same "life" from the characters of this sequel that I did in the original, but that's just my own feeling. Finally, it seems to me that there is a certain drabness or lack of color in the photography, where the original film had a certain richness of color even at night.
Some people may feel I'm being generous in giving this film 7 stars, but I feel that the strong points of the film outweigh the debits. This film is an acquired taste that may take some people longer to appreciate and enjoy than others.
Besides, to paraphrase Patrick Stewarts' spoken epilogue from the soundtrack of THE NIGHTMARE BEFORE CHRISTMAS: "I'm still rather fond of that scarecrow man", even forty years later.
The Fall of the House of Usher (2010)
POE'S EPIC TALE IN A MIXTURE OF LIVE-ACTION AND ANIMATION!
I'm sure not too many people have heard of this version of the classic tale as I don't believe it was widely publicized, but this version, set in modern times, is a fascinating re-telling. The main story, which is sandwiched/bookcased between live-action sequences, is stunningly portrayed by puppet animation. The relationships between between the characters is interesting, making it a bizarre sort of love triangle with Roderick being the focal point; they are the deep friendship between himself and "E" (the friend he implores to come) and Medline's possessiveness towards Roderick and her jealousy that someone else seems to have come between her and her brother. The Fonsecas have created a house in the midst of an empty outside and an interior world that draws the viewer in like a spider's web (or perhaps a Venus Fly-Trap would be a better example), and the animated figures move fluidly enough, but it's the soft vocal performances and gentle music score that make this a memorable re-telling.
Shchelkunchik (1973)
IF YOU CAN FIND IT, SEE THR ORIGINAL RUSSIAN VERSION!
To sum up this version of the classic story in one word, I would use the word "beautiful"! The animation is marvelous and this unusual telling of the story (the heroine here is a maidservant instead of the daughter of the family, and there is not a single word of dialogue!) make this not short of a masterpiece.
This can be found in two versions: the original Russian animated short and a version with English dialogue added for an episode of the series MIKHAIL BARYSHNIKOV'S STORIES FROM MY CHILDHOOD, and I have to say that I personally prefer the original Russian version as I feel that the dubbed dialogue and narration by Shirley MacLaine really distract from the sheer beauty of the animation and the music (also, the dialogue, in my opinion, is not well-written).
My personal suggestion is that you see the original version, which is publicly available, but whichever version you see first, some of the magic and enchantment will always stay with you after you see it.
A Christmas Carol (2019)
In a strange way, Dickens might have approved.
I've both seen and collected many different versions of A CHRISTMAS CAROL over the years, both filmed and on audio, and this BBC/FX version is the very first to clearly show the darker, dirtier side of Victorian England (the 1999 version with Patrick Stewart showed some scenes of it, but never actually addressed it). Dickens actually wrote this novella as a cry against the social injustices of his times (of which, in his youth, he was a victim), and I have to applaud Mr. Knight for tearing aside the "pretty picture" which a lot of authors and filmmakers have covered the Victorian Age to reveal the side that very few people, especially during that time, ever wanted to talk about or even see. Actually seeing the horrible living and working conditions for the lower classes (especially for children, who had to work almost as long hours and under as hard conditions as the adults) that were a part of Britain's Industrial Revolution is nothing short of a blow in the face to the viewer, and while the writers do drive the point home in this production with a sledgehammer, you have to agree that you DO and WILL get the point, even if you don't want to.
Making Guy Pearce's Scrooge a mature man, early 50's at the most, instead of the usual 60's-year-old man, brought out a strength that made his resistance to all of the ghosts even more powerful, as did making him not a miser but a cold calculating machine of a man, and adding details to Scrooge's backstory which, although Dickens himself never delved into it (except up to a point in NICHOLAS NICKLEBY) was entirely possible and believable, added a depth to the story. The Christmas Spirits themselves were performed with equal power, and changing their natures and appearances from the familiar Dickens images was a change that I found refreshing; after all, you can see these characters looking and being performed similarly just so often. Andy Serkis as "Christmas Past" stands out in particular (he has really become an amazing character actor), and a make-up detail about Jason Flemyng's "Christmas Future" made me look even closer (I thought I was seeing things until I saw still shots). I was glad that the Cratchit family has been reduced to only two children and that their home was a rented hovel of a home. As for Joe Alwyn's "Bob Cratchit" I also applaud that the writers chose to discard the usual down-trodden deference to Scrooge and sometimes unpalatable nobility when at home that previous Cratchits have shown, Other pleasant surprises were Charlotte Riley in a double role and Kayvan Novak's "Ali Baba", but I found Stephen Graham's lower-class accent as "Jacob Marley" (otherwise his performance was excellent), Lenny Rush as "Tiny Tim" and (surprisingly) Vinette Ropbinson's "Mary Cratchit" somewhat disappointing.
All in all, this is NOT A CHRISTMAS CAROL for the purist, but in my view it IS a worthwhile addition to the list of filmed CAROLS and one that, in a strange way, Charles Dickens would have approved of (if only tacitly). I recommend seeing it ... you may not love it or even like it, but you WILL, for the most part, be riveted to it.
The Children's Midsummer Night's Dream (2001)
An unusual version of Shakespeare's comedy... and these kids will surprise you!
I originally bought the VHS copy of this film on a trip to the UK many years ago (I had and still have a multi-system VHS player, so I could watch this) mainly because I collect Shakespeare on video ... and after watching it I was absolutely floored at how good a production this was. It begins with British school children watching a marionette production of A Midsummer Night's Dream (with the marionettes charmingly voiced by Derek Jacobi as "Duke Theseus" and Samantha Bond as "Hippolyta"), but when the character of "Hermia" begins to speak, one of the school girls leaps to her feet and begins to speak "Hermia"'s lines. From that point on, reality and Shakespeare's dream world merge and switch places. Dressed in Elizabethan costumes, these children (some of whom make up in enthusiasm what they lack in acting ability) are a treat to watch. None of Shakespeare's lines have been cut in this production, and the actors in this film don't have any formal training, but they do a wonderful job...a lot better, in my opinion, than some of the performers in previous or subsequent filmed versions of this play.
Extraordinary Tales (2013)
An excellent way to introduce kids to E.A. Poe!
I'm an unashamed fan of Edgar Allan Poe ... I admit it freely. I've visited every one of his houses in New York, Philadelphia, Baltimore and Richmond, and I have a huge collection of audio readings and film adaptations of his work. When I first got wind of this film and some of the voices connected with it (Sir Christopher Lee and, joy of unexpected joys! Bela Lugosi), I couldn't wait until the release date.
Now it is here.
Now I've seen it ... and I'm very pleased.
Not delighted or overjoyed, but pleased.
I have to admit that compared with other animated versions of Poe's work "Extraordinary Tales" is a little lightweight. I was surprised to see quite a lot of kids in the audience of the showing I went to (it took me quite a while to find a theater in my home city where it was showing since the film is currently in limited release), but after having seen the film I can honestly say that this is a great way to expose kids to Poe for the first time. I was prepared for the different animation styles of each of the five stories included in the film, but I was pleasantly surprised that the stories are enclosed by a pastel-animated framing story involving a talking raven (voiced by Stephen Hughes, and I won't tell you who the raven really is!) and the unseen voice of Death (wonderfully performed by Cornelia Funke).
As to the stories themselves, here they are in my order of preference: 1) "The Tell-Tale Heart" (narrated by Bela Lugosi); 2) "The Masque of the Red Death" (no narrator); 3) "The Pit and the Pendulum" (narrated by Guillermo del Toro); 4) "The Fall of the House of Usher" (narrated by Sir Christopher Lee); 5) "The Facts in the Case of M. Valdemar" (narrated by Julian Sands)
I chose "Tell-Tale Heart" as Number One not only because of Lugosi's wonderful narration but also because of the black-and-white animation style used. "Masque of the Red Death" has no narration (except for one line delivered by the famous director of Poe films Roger Corman), but the animation style used here reminds me a lot of Ralph Bakshi's style in his film version of "The Lord of the Rings", very beautiful and flowing. I don't know if "Pit and the Pendulum" is actually CGI, but it seemed that way to me, and del Toro's narration has a wonderful velvety gruffness that makes the listener believe that the narrator is an old man remembering his experience (and I was intrigued by the twist given to the story). The highlight of "House of Usher" is, of course, the wonderful narration done by Sir Christopher Lee and the house and background are beautifully chilling, but the animation of the characters is a little too reminiscent of Minecraft figures and the story is a little too abbreviated (but this too has a wonderful and shocking twist!). As for "Valdemar", the animation is a little too comic-book-like for me, but the on-screen character of the narrator has (to my delight) more than a slight resemblance to Vincent Price!
I will definitely add "Extraordinary Tales" to my collection should it ever be released on DVD, and I also definitely recommend it to other Poe admirers and to parents who want to introduce their kids to Poe ... there'll be plenty of time for them to become truly addicted (as I was and am) to the unabridged and more horrific versions ... if they (and you) dare!
Cirque du Soleil: Worlds Away (2012)
Is it so bad to be lost in the worlds of Cirque du Soleil?
The world(s) of the world-renowned Cirque du Soleil are complex and varied, as anyone who's seen any of the now-30 stage/tent shows across the world knows. It can be bewildering...mysterious...it can be threatening...and yes, it can be dangerous and violent. But - and this is a BIG "but" - it can be touching, beautiful, exciting and wonderful, a land of enchantment where anything can (and usually does) happen and where anything (including true love) is possible. In CIRQUE DU SOLEIL: WORLDS AWAY, all of these things happen. Combining acts and characters from the seven Resident Cirque du Soleil shows in Las Vegas (including VIVA ELVIS, which closed in 2012), this film takes the viewer along with the two main characters on a strange and magical journey where they are both helped and hindered by characters from the Cirque du Soleil worlds. One of the best things about this film is that, like the stage shows themselves, almost no dialog is spoken, with the performers telling the story or speaking to each other with every movement.
Sometimes the way the acts move the story along is a bit puzzling; I'm not sure why the battles from KA were used when they were or why the CRISS ANGEL: BELIEVE character was even used at all. While I wish the character of "Le Bebe" from MYSTERE had also been included, the character of "Sparky" from THE BEATLES - LOVE is the real show-stealer of the film. I also wish that more acts from MYSTERE had been used.
One could even say that CIRQUE DU SOLEIL: WORLDS AWAY also adds ideas from ALICE'S ADVENTURES IN WONDERLAND (where the heroine falls down a hole into Wonderland) and THE NUTCRACKER ballet (where the hero and heroine perform a a pas de deux that expresses their feelings for each other), but the Cirque du Soleil take is still original, beautiful and fun. I can't comment on the 3-D effect used in the film as my eyesight due to eye surgery doesn't allow me to see 3-D, but even in flat-screen format this film never fails to keep the viewer riveted with acts like "Bateau" from O or the Wheel of Death from KA, and the "While My Guitar Gently Weeps" sequence from LOVE will bring a lump into your throat.
All in all, take your own journey through Wonderland with Cirque du Soleil. Unlike ALICE IN WONDERLAND or THE NUTCRACKER, the worlds of Cirque du Soleil are worlds that anyone would love to wander through and get lost in...and unlike ALICE IN WONDERLAND or THE NUTCRACKER, the dream doesn't have to end.
Beauty and the Beast (2012)
It lacks the magic of the original series
I'll be the very first to admit it ... I was a huge fan (and still am) of the original Ron Koslow series. What made it so wonderful to me was that although it did not hesitate to show the dirt and grit that lie below the polished surface of World Above, it also had warmth and feeling. There was also a wonderful connection between the two leads, and the stories were told from a number of viewpoints. While the new series claims to be a "remake" of the original series, the only things it has in common are the name of the series, the first names of the lead characters and its Executive Producers.
Let me start with what I feel is totally wrong about this new series ... it's dark, gritty and tells the story from only one point of view. What made Catherine's character so appealing in the original series is that she began as privileged yet naive, and the event that changed her life also helped her learn (with Vincent's help and encouragement) to be strong but still caring Linda Hamilton's Catherine could take strong stands against injustice and even risk her life on occasion, but she still was able to find beauty and hope. Kristin Kreuk's Catherine, on the other hand (and I'm not blaming her performance but the writers) is totally driven and sees her world in a sort of tunnel-vision (pardon the pun) without (so far) any touch of warmth or true caring; she is determined to get her own way no matter who she has to go through or who she hurts, and sees no beauty in the world she inhabits. While both the original and new Catherines go through life-altering experiences that make them who and what they are, this new series is not her and Vincent's story ... it is only HER story. Linda Hgamiulton's Catherine learned to see and understand the beauty beneath the beast, as in the original fairy tale ... Kristen Kreuk's Catherine seems shocked and pitying, and that is all.
Now to Vincent. Ron Perlman's Vincent so so far superior to Jay Ryan's I can't even begin to see any true comparison. It wasn't the make-up, strength and voice that defined Perlman's Vincent; it was the way he portrayed the character, with nobility and occasional humor and sorrow and genuine caring, that made him so magnetic a character to watch. While we watched the original Vincent use his speed and strength in almost every episode, he only did so in order to defend the people he cared about, whereas Jay Ryan, on the other hand, only has to lose his temper to display his Vincent's speed and strength (and all he's done so far is smash holes in walls). I'm not entirely certain yet what the writers had in mind when they created his "Beast", but simply giving him a facial scar, roughening his voice and giving him a back-story like the one revealed (a failed secret DNA experiment by the Army to create the perfect super-soldier and now being hunted down by a secret organization? Give me a break!) in no way compares with the back-story of the original Vincent (which we never learned fully because of the cancellation of the series after three seasons), who was born the way he was.
Lastly, the stories. The new BEAUTY AND THE BEAST is merely a series of solve-the-weekly-murder stories, with Vincent providing little or no help with the murder's resolution. The stories in the original series were not only stories of danger and violence or just about Vincent and Catherine (although that was the underlying thread that bound them together), but also stories that dealt with the people of the series ... both the people of Vincent's world AND the people of Catherine's world (one of the best dealt primarily with Vincent's adopted father and another with Catherine's immediate superior Joe Maxwell). In the new series, the other characters circle in orbit around Vincent and Catherine without coming into any focus; they're there to support but not to shine on their own.
The critics don't give the new series much hope for survival ... and I have to agree. The magic of the original series has raised it to the level of "cult classic", and without that magic this new version is not long for this world. Some things should not be re-imagined.