Film Persona

  Akira Kurosawa's "Drunken Angel" In beginning my new venture into the work of Akira Kurosawa, my first film from his select filmography is perhaps his first major work. The film is considered by many to be a 'noir,' which would not be a consistent style in Kurosawa's work. However, " Drunken Angel " does offer an insightful ignition point into the work of a director and into the psyche of post-war Japan. " Drunken Angel " tells the story of an alcoholic doctor who becomes invested in a yakuza member after a devastating diagnosis. Despite coming to the doctor for a gunshot wound, the doctor uncovers a spot on the lung of the yakuza member, Matsunaga. The doctor, Sanada, wishes to treat Matsunaga, despite Matsunaga's stubbornness. In order to get better, Matsunaga must give up his drinking and smoking. This is turn means he must also give up the yakuza profession he's made for himself and the dangerous and degrading lifestyle. Throu

  Marcel Pagnol's "The Baker's Wife" " The Baker's Wife " marks my last venture into the work of scriptwriter and director Marcel Pagnol. There is a lot that can be said about this famous Frenchman. His writing allows you to spend immense time with everyday people. The dialogue seeps with domestic woes and common vernacular. Pagnol was a true poetic realist. I can undoubtedly see the merits in his work and understand its important place amongst 1930s French cinema. That being said, I tend to find the works too long for their respective subject matters. I always tend to start really becoming invested in the story and the lives of the characters in the very beginning. However, once I reach three quarters of the way through the film, I find myself fatigued. Obviously, I can see the merits of what I'm watching. However, I might not be in the right place in my life at the moment to find an immediate connection to the work.  " The Baker's Wife &qu

  Marcel Pagnol's "Cesar" In completing Marcel Pagnol's " Marseille Trilogy ," 1936's " Cesar " takes us 20 years into the future in the lives of these characters we've come to know for two films. " Cesar " is a far more somber affair than " Marius " or " Fanny " as the latter two seem far more energized with passion. The former, in dealing with death right off the bat (with the death of Honore Panisse), is far more contemplative with an air of tragedy fogging up the atmosphere of every frame.  What I noticed about " Cesar " helped me further to identify with " Marius " and " Fanny " in that Pagnol seems to be illustrating the consequences of adhering to the convention of modernity and societal appearances. All of the characters make all of their decisions based on factors outside of their wants and desires, so as to appease the economic or societal expectations of what they 's

  Marc Allegret's "Fanny" The direct sequel to the 1931 French success, " Marius ," 1932's " Fanny " sees our characters and their dilemmas after the consequences of the prior film. The film continues in its complex examination of the lives of these everyday Marseille citizens. Marcel Pagnol continues in his role of screenwriter, while the role of director has been changed to Marc Allegret.  After Marius leaves for years to travel the seven seas, Fanny and Cesar are left with the fallout of Marius' departure. Fanny is now pregnant and must marry Honore Panisse to both economically support her child, as well as give him a family name. After several years of Panisse fathering the child, Marius returns and expects Fanny and his son to be handed back to him. However, in the climactic final scene, it is explained to Marius that he chose to leave his fiancé and thereby, his son, behind. Because of this, his entrance into his son's life would only

  Alexander Korda's "Marius" In the early 1930s, poetic realism was redefining cinema in France (and globally), thanks in large part to filmmakers like Rene Clair and Jean Renoir. Poetic realism, like realism, allows for audiences to experience life and situations that more closely resembled their own. The poetic elements of this realism instilled a sense of visual and aesthetic expression that elevated the realism to more emotional places. The 1930 Rene Clair film " Under the Roofs of Paris " demonstrated this by showing French audiences a poetic representation of their own, casual lives, full of small dramatics that could only be dramatic to the individual. The 1931 film " Marius " carries along these same ideas. Although " Marius " was directed by Alexander Korda, it is the product of screenwriter and playwriter Marcel Pagnol. Pagnol adapted his 1929 play of the same name into this feature-length film experience. It tells the story of a ma

  Leontine Sagan's "Madchen in Uniform" At a time in Germany when Nazism was on the political rise and the ever-present threat of authoritarianism loomed large, many filmmakers were making radical films to push back against these oppressive forces. One of these films, 1931's " Madchen in Uniform " was a particularly unique film. Not only was the film written by a women, it was directed by a woman, and featured no male actors amongst the several dozen cast members. Written by Christa Winsloe and based on her stage play of the same name, the film was able to be produced for low budget, as many of the actors reprised their stage parts for a reduced salary. To direct the film, Leontine Sagan was tasked. Sagan had no prior directing experience, but her work as an actress gave her the added benefit of being involved with the filmmaking process and directing actors. Despite the film putting her on the map, she would only go on to direct three more pictures.  "