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This is Eve and I hope to have another break from the usual programming after yesterday’s extravagant article by Lambert on the joys of well-prepared cuisine. Satyajit Das has given us another cultural treat, following his well-received discussion of death in films and his critique in The Economist.
The article is by Satyajit Das, a former banker and author of numerous books on derivatives and general books. Traders, Guns, and Money: The Known and the Unknown in the Fascinating World of Derivatives (2006 and 2010) Extreme Money: The Masters of the Universe and the Cult of Risk (2011), Fool of Fortune: Australia’s Choice (2022). His latest book is about ecotourism and the relationship between wildlife and humans. Wild Quest (2024)
Western audiences, or more specifically arthouse audiences, are experiencing a resurgence of interest in East Asian films, reminiscent of the post-war interest in the works of Akira Kurosawa.Rashomon and his samurai films) and Yasujiro Ozu (Tokyo StoryThese works continue to influence Western filmmakers today. Family Romance LLC Win Wenders’ A perfect day Recent example.
Its appeal is complex. Rashomon, Fragmented stories told from different perspectives and enhanced technology. Alejandro Iñárritu’s films Amores Perros, 21 grams and Babel Quentin Tarantino’s films also incorporate this technique. Ozu’s avoidance of over-the-shoulder shots for dialogue scenes, his use of direct cuts for stationary objects and transitions, and his use of unusual shooting angles are now commonplace, but many of his films reconfigured traditional storylines to fit exotic settings and customs unfamiliar to Western audiences at the time. Kurosawa’s liberal use of Shakespeare’s classics and Ozu’s storytelling are indistinguishable from the Hollywood and British cinema that both directors admired.
Recent interest is nuanced; a greater understanding of these cultures has reduced the “shock of the new” element. This may have something to do with traditional studios churning out films; franchises are increasingly fragmented, with predictable, overdone formulas and remakes that pale in comparison to the originals. One factor that favors foreign films is the vetting process, which means that films in languages other than English rarely receive a global release. As with literary classics, scrutiny can improve quality.
The current boom in Japanese and Korean films may seem sudden, but in reality it has been a gradual process.
Director Bong Joon-ho is 59 years old. ParasitesIt enjoyed cult popularity similar to the 2003 film “Star Wars: Episode I.” Memories of Murderan unconventional crime thriller, 2006 the hostSF Project, and 2009’s mothera thriller. 61-year-old Park Chan-wook’s Decision to leave His early, brilliant works, which were acclaimed but dealt with controversial themes such as incest, brutal violence, dark humor and genre blurring, have stood the test of time for decades. Vengeance Trilogy – 2002 Sympathy for Mr. Revenge2003 Old Boy And in 2005 Goddess of VengeanceThe Western fans included prominent Hollywood directors. This beautiful and beautiful lesbian drama from 2016 Maid It won the BAFTA Award for Best Foreign Language Film, and both are active in Hollywood.
The subject of recent critically acclaimed films is Shoplifters, Parasites, Driving a car, Decision to leave, Bankruptr, Monster There are some changes from his works of the 1950s and 1960s. Many of them depict the hidden underclass, inequality and tensions in Japanese and Korean society. They often concern the lives of those on the margins. Part of the appeal for Western audiences may be the revelation of a world beyond the flashy technological exteriors and ancient beauty of the East.
Shoplifters, Parasites and BankruptSet amid poverty and scarcity, it depicts petty crime, abandoned and abused children, baby trafficking, prostitution and corruption. It explores the plight of the elderly, widespread misogyny and suspicion of foreigners. It offers a stark contrast to an elite that has become rich quickly thanks to opportunities available only to the well-educated and well-connected.
Driving a car and Monster No. Ryusuke Hamaguchi’s Driving a car The film explores issues of social interaction and identity in different environments. However, social stratification is evident in the relationship between the protagonist, an actor-director staging Chekhov’s Uncle Vanya, and his assigned personal chauffeur, a young woman seeking escape from her past life. Based on a short story by Haruki Murakami, the film’s exploration of intimacy and longing is as fascinating as it is mysterious, and is a film adaptation of the author’s 1999 novel. Sputnik SweetheartHirokazu Koreeda’s Monster It explores family dysfunction, grief, false authority, bullying, gossip via social media, etc. The title “Monster” has a metaphorical meaning of misunderstanding between people and the inhumanity of humans.
The best recent East Asian film may be an underappreciated work: South Korean director Lee Chang-dong’s 2018 film. combustionA loose adaptation of a short story by Murakami Haruki, the film is based on a strange love triangle. Growing up in a rural area, Jong-soo loves Faulkner and dreams of becoming a writer. He happens to reunite with Haemi, an acquaintance from his childhood. Both survive doing odd jobs on the fringes of Seoul society. The third is Porsche-driving Ben, who never seems to work but is mysteriously wealthy and burns down greenhouses for fun. The minimalist plot revolves around the complex interplay of desire and suspicion between these three characters.
Class criticism is combustion In F. Scott Fitzgerald’s work, Jones says to Hemi:There are many Gatsbys in Korea.In another scene, Hae-mi performs a Kalahari Bushman hunger dance for a bored Ben and his friends, who scorn her for celebrating the experience.The contrast between Ben’s art-filled, luxurious apartment in an upscale Seoul neighborhood and Jong-su and Hae-mi’s squalid abode is stark.
Patricia Highsmith-like anxiety combustion. There is a De Chirico sense of oppression and claustrophobia. The spaces are empty, the air hangs heavy, the images are repeated. The sound design (traffic noise, street music, loud TVs showing Trump, phones ringing when no one is there) adds to the tension. North Korean propaganda yelled from loudspeakers around Jong-su’s village near the border suggests something terrible is about to be unleashed. Jong-su senses that the rich, amoral playboy is not what he seems.Fairly goodBen feels that Haemi is in danger.
The film is littered with subtle motifs, leaving confused viewers with no clear interpretation of the story. Jong-su agrees to feed Hae-mi’s cat while she’s on vacation. The cat is unseen and unheard. Is there really a cat? Each character has a cupboard that seems to contain a clue: a pillar of reflected light, a shiny knife, a pink plastic watch.
A striking scene appears near the beginning, when Hae-mi mimics eating a tangerine and tells Jong-su that if he ever wants something, he can just make it himself, like this. combustion Everyone is hungry for something, but it’s never clear what it is. When the underlying violence can no longer be contained, the film reaches an explosive conclusion, a suggestive ending that sets it apart from similar films that often meander towards unsatisfying, contrived endings.
These films are all intelligent, well-acted, cinematically distinctive and deeply human, and it will be interesting to see whether they survive repeated viewings and continue to offer new insights over time. Rashomonprobably Drive My Car and combustion With deep insight into people’s lives and mysteries, their works have enduring psychological complexity and subtlety. Longevity is the ultimate test of any art. Only time will tell.
© 2024 Satyajit Das All rights reserved
Co-publishing New Indian Express Online
