Setsuko Haro
MIFF 2016 showcased six films starring the Japanese actress Setsuko Hara who died in September 2015. I saw four and enjoyed them all. She is beautiful, but it is her capacity to convey the unexpressed emotions of her characters that is a wonder to behold.
Sound of the Mountain (1954)
Setsuko plays a neglected wife and her loving relationship with her father in law is the focus of the film. Husband is a drunk. Wife and father in law never discuss her situation. Their conversations, shared as they walk to and from the house they share, are full of restraint and tenderness. The climax, brought about by the wife is unexpected and quite brutal. Her farewell to her father in law, walking along an avenue of trees is poignant. I cried.
A Ball At The Anjou House (1947)
Another exquisite performance from Setsuko playing the daughter of an aristocratic family about to lose everything – status, position, household. She quietly and calmly works to help her sister, brother and father accept their new reality. The ball marks the end of an era. The final scene of daughter and father dancing in the empty ballroom reminded me of the film The Leopard.
Tokyo Story (1953)
My second viewing of this classic and I was surprised to find it less moving than my first. It remains a beautiful depiction of loss and disappointment as elderly parents travel to Tokyo to visit their children who have no time for them. Setsuko plays the former fiancé of a son killed in the war who gives them the attention they seek. Sad. The gap between generations looks set to continue with the grandchildren as self absorbed as their parents.
Early Summer (1951)
This is a really clear eyed and critical portrayal of the treatment of women in post war. Setsuko is one of three young women working their way through life amid cultural expectations. Marriage is expected to be the goal of every girl. She faces limited choices and her decision is unexpected and poignant. Beautifully done.
The only trailer I could find for these films is this one, which is a tribute to Setsuko.
Australian Showcase
To mark 25 years since the release of Proof a restored version of the film was screened in this section of MIFF2016. By circumstance, certainly not intention, it was the only Australian film I saw this festival. The restoration by the atonal Film and Sound Archive was wonderful. I remember this film as being very brown – not so!!
Proof
I enjoyed it very much on first viewing and did so again. It’s such a interesting idea, still fresh after 25 years. What we remember and why. About trust, intimacy and love. One of Russell Crowe’s first films, already demonstrating the things that would make him famous, a certain loucheness and capacity for repressed violence. All the performances are brilliant. Genevieve Picot really showed Celia’s vulnerableness as well as her meanness. Lots more humour in it than I remembered. Incredibly moving at times. And a happy ending (for the blokes at least). Beautifully shot. And lots more colour and lightness than I remembered. The discussion afterwards with the director, Jocelyn Moorhouse and the producer (Lynda House) and some of the cast (Hugo Weaving) was interesting. We were told it was easy to get funding. An article about a blind man taking photos was the catalyst. It preceded our knowledge, and wasn’t about, stalking. Jocelyn also told us she wanted to show women can be villains as well as heroines. And Hugo cringes a bit at some of the scenes but is proud of it and amazed at how much the younger him looks so much like his son. He is very tall which doesn’t come through in the film. This trailer has not been restored. The restored film has much more vibrant colour.
Gaining Ground
I always like to see at least one film from every section of the festival (except horror). And this section showcased “trailblazing female directors working in New York in the 70s and 80s”.
A New Leaf
I loved this film directed by, and starring Elaine May. It was great fun. Walter Matthau was wonderful as the louche playboy in need of a wealthy bride. He plays this ridiculous character so straight it is a wonder to behold. The director was terrific as the naive heiress he lands on. The great thing about it was the warmth towards both characters. While he really was shocking my, you couldn’t help liking my the Matthau character, even when he is intending to kill his new bride. And when he moves into her house and meet all of the staff who have been ripping her off you cheer as he rounds on them all – even if initially it is only I offer to save the money for himself. It is sumptuously shot in lovely warm colours. The rapid fire repartee is fantastic. There’s not a wasted word or image. I read later that the director’s original cut was much longer with more time spent on the scheming staff but this was finally cut by the producers. She apparently hated this version. I loved it.
Leave a Reply