When I wrote the previous post I chose, among the top ten films of Takashi Miike I saw in the last two or three months, Fudoh: the next generation as the one I liked, no to be the best or the most amazing ( or Ichi the Killer Visitor Q won him wide) but more evenly balanced and attractive. The point is that he had not seen Chugoku chôjin not ( The Bird People in China ) movie that I got this weekend and so far has me baffled. In a previous post or the comments of a previous post, I talked about my particular fondness for the contrast as a means of expression. I think the best place for a needle goes unnoticed is not a barn but a lot of needles, and highlights the major site is on a background of cotton. What do I mean that little is that the expressiveness of are those uniquely or less automatically as possible. That the unusual strength is perceived as much more sincere and powerful than usual and the black sheep not only stands out but it attracts attention. And what attracts our attention draws our empathy. Or our refusal, of course.
I personally am totally sensitive to unexpected islets known seas, or rather (to use a metaphor of Italo Calvino ) to what is hell in the middle of hell. Both in life and in art, if they have to differentiate, always appeals to me these bursts of beauty and humanity displayed in environments rather desolate or undermining the sense aesthetic society. I note some examples: the relationship of Destouches with the prostitute in Journey to the End of the night the divine Louis Ferdinand Céline, the bridge extremely melodic and calm in the noisy and unbearably tense 'Pacific Coast Highway' of Sonic Youth, the end of The Exorcist with the priest and the policeman talking about trifles, the strange tenderness that goes beyond the always hurtful Steve Albini in 'The Billiard Player Song' Shellac of the fragments in which Bukowski talks about his daughter, Johnny Rotten using the clock her mother gave concerts Sex Pistols, the second of Inglés Two Poems of Jorge Luis Borges , lovely melody Ortelani Riz wrote for the unbearably violent Cannibal Holocaust, the raft drift and full of monkeys in which he finally calmed moves Aguirre Werner Herzog, the fragment Do You Love Me? of William Burroughs in The Ticket That Exploded , Lavender Mist box of Jackson Pollock, the phone ringing in the middle of a dream of Festen Thomas Vinterberg, 'Hot in the Heels of Love' of Throbbing Gristle , the poem A Girl of Ezra Pound , snow falling on the bodies of the elderly in The Ballad of Narayama , the voice of Iggy begging over and over again " I need ... I need ... " in the convulsive live versions of the Stooges playing 'Johanna' ...
There's something about those lowered guard, in these inconsistencies that not only seeks the chiaroscuro to Caravaggio but has some truth uncontrollable, unmediated expression, something that seems insurmountable. Takashi Miike
is no stranger to contrast violent, in fact its best-known film in the West, Hearing is a masterpiece in this regard, although the procedure is reversed in the examples noted above. Hearing is a sober reflection on male loneliness that is suddenly pierced by the most hellish inferno beam which produced the film. The Bird People in China is the opposite, as can be sensed by reading the summary of the plot: a young Japanese businessman travels to a remote province of China to review what appears to be a valuable vein of jade in the way is joined by a veteran, traumatized violent yakuza to the company whose band Young owes money and who has traveled to confirm the possibilities of recovery from it. After a very long and bumpy journey, in which we learn a lot about the not always obvious differences between Chinese and Japanese, come to an almost medieval village ( "who does not know Mao Tse-Tung" says the guide) in a place beautiful in which time seems to stand still and where there is a strange obsession with flight. They both characters change , even though the story there argument is irrelevant in relation to a film whose main, though not unique-value is visual beauty, able to blush with shame to any film Theo Angelopoulos or Francis Ford Coppola . The Bird People from China, a voluptuous film similar to that of any of Zhang Yimou but many richest readings was only one of the four films that Takashi Miike filmed in 1998.
Leo in the press that the infamous junk dealer that has become Pedro Almodóvar (if it was not always, but when I copied to John Waters was at least sympathetic) complained of having lost Palme Cannes 2006 to the limited but sincere Ken Loach. Almodóvar claimed to be favorite for the award was "a curse" that would have played against at the time of the prizes. One can venture that all his films since Atame! (1990) have been a prefabricated fuck in order to win prizes and twine can also be influenced.
The Bird People from China are not presented in Cannes at the time did not win more than two or three local awards and was never ridiculously scheduled broadcast television, or cable, or movies in Uruguay. But his men are still flying and reminding bird, more harmonious with the ultra-violence of Miike's other films as it seems, that the real sensitivities are rarely limited to a single color expressive.
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