Café Lumière

It has only been 3 months since I last reviewed Hsiao-hsien's Café Lumière (2003), but I decided to watch it again to see its chronological position in the director's filmography. I recommend reading the older review first because I'm going to cut to the chase in this review. The earlier review approached the film solely as an Ozu tribute, which is something I didn't notice until now. The film is so much more than that - and it gains more resonance through rewatches.

Even though the filmis devoted to its exploration of Japanese culture, it is also a thorough character study. Yoko's journey is captivating in its simplicity and relaxed emotion. 'Relaxed' is a fitting adjective in this case because the emotions are not necessarily "restrained" - though there are a few minor cases of that as well. By exploring her as a character, Hou plunges deep into the Japanese culture beyond the superficial level that most other films remain. It is surprising how much one can realize from repetition (primarily referring to the train rides and long walks) - which is the key word in Café Lumière's writing.

The form is probably as minimalist as it can get in cinema. It gives the film a natural feel (that doesn't simply "mimic reality"). Personally I also love the fact how Hou uses a lot of visual footage of trains that are both vital to the Japanese culture and for my silly obsession with trains. Unfortunately there's one flaw I can't forgive in the film's form. The few brief instrumental pieces of background music are painful due to their distracting misplacement.

Café Lumière is only a bit away from reaching the status of a "true masterpiece" - for which it certainly had the potential.

Score: 9 out of 10

Late Spring

Yasujiro Ozu's Late Spring (1949) is the first part of an unofficial "Noriko trilogy" (3 Ozu films which have a character called Noriko performed by wonderful Setsuko Hara) of which I have seen only the last part before (Tokyo Story, one of my favorite films of all time). It tells about a woman and his relationship to his old father as he tries to get her married before it's too late.

Ozu's observations on family and changing values are still hard-hitting - even 60 years after the film was released. As differing values clash (regarding remarriage, arranged marriages and independence), something so utterly sad yet profound emerges.

Ozu employs his minimalism in a very successful way yet again. The restrained emotion of the story (up until a certain point, as usual) and the lovable characters make the film an unforgettable experience. Ozu's regulars, Setsuko Hara and Chishu Ryu, perform wonderfully yet again.

Even though Ozu is known for his minimal form and static camerawork, Late Spring features a few scenes in which the camera moves quite a lot. It proves that Ozu knows exactly how to use the camera in different scenes. His precise framing and impeccable editing make me jealous (in a good way, though).

Yasujiro Ozu delivers yet another masterpiece with Late Spring - a film which won't leave my mind at peace during the following weeks.

Score: 10 out of 10

Kiki's Delivery Service

Hayao Miyazaki's Kiki's Delivery Service (1989) tells the story of a 13-year-old witch who has to move out from her home for a year as a part of her training. Her quest to find a new home and to become accepted in the new community takes her to unexpected places. The screenplay's strengths are the characters and the dense narrative. On a thematic/metaphoric/symbolic level, the film is not as rich as Miyazaki's other films, but it is still satisfying.

As usual, Studio Ghibli's animation and art design are top-notch. Hisaishi's music is good yet again. Miyazaki's use of silence is fascinating yet again - and it also makes the musical score's effect greater.

Even though Kiki's Delivery Service is one of the "lesser" films Miyazaki has ever made, it is still a great film.

Score: 9 out of 10

April Story

Shunji Iwai's April Story (1998) is a short but delightful film of a girl entering university in Tokyo. Initially the film seems to tackle with questions related to independence, but it eventually turns into a love story. The first half of the film seems a bit unfocused, but that is only for the better: it sets the tone for the rest of the story and provides the necessary background. The later half of the film is incredibly told. While the content might not be anything new or deep, it's enough to satisfy during the short running time of the film (67 minutes).

Iwai's form is exceptionally breathtaking: beautiful lighting, pleasant handheld camerawork, charming pacing and a poignant musical score. A lot of instrumental music is used throughout the film, but it never becomes too intrusive.

Appreciation of Iwai's April Story is more about how the film is told instead of what is told. Iwai's narrative and form are clearly the pros of the film. Spending an hour with this film will certainly not go to waste.

Score: 8 out of 10