The Burmese Harp (1956)
At the end of the Second World War, Private Mizumisha is sent to convince a group of Japanese holdouts to surrender to British forces, but a bombing separates him from his platoon.
A monk finds Mizumisha and nurses him to health. After his recovery, he travels the country, burying the fallen Japanese soldiers he finds along the way. When found by his platoon, he refuses to go home until he has buried them all.
Based on a novel of the same name, this was the first major success of director Kon Ichikawa outside of Japan and was nominated for the inaugural inaugural Academy Award for Best Foreign Language Film.
A sparse film with minimal dialogue, it’s a haunting portrait of the cruelest devastation of war: the ordinary citizens and soldiers who suffer the consequences of the decisions of their leaders. Private Mizumisha provides these casualties something their leaders neglected, respect for their sacrifice.
Mrs. Henderson Presents (2005)
Since her son died in the first World War before his twentieth birthday, Laura Henderson (Judi Dench) decides young men need the opportunity to experience debauchery before they sacrifice their lives in the Second World War, so she stages a show featuring nude women mimicking famous works art as her struggling theater.
Even Judi Dench can’t do enough to elevate Mrs. Henderson beyond a stock character, an independent woman of means who enjoys doing unconventional and shocking things. She pretends to disdain convention, but earned the money which allows her such freedom though very conventional means (the inherited wealth of her husband).
Bob Hoskins was fantastic as Eddie Valiant and Mr. Smee and while his take on Mario was not successful, I applaud him for the bold move. The same boldness brought him to this film which he produced and starred in as Vivian Van Damm, the manager of the theater. Initially hostile to the insufferable Mrs. Henderson and reluctant to manage a show with nude women, he warms to her and the girls under his tutelage, and bares all to ease their concerns. At almost sixty years of age Hoskins was unafraid to take risks with his career.
Christopher Guest made a name for himself directing and starring in a series of acclaimed, highly improvised mockumentaries. He brings a touch of much-needed comic relief to the film as the prudish Lord Chamberlain, who must be convinced to allow nudity on stage.
Stephen Frears’s films, including Dangerous Liaisons (1988), The Grifters (1990), The Queen (2006) and Philomena (2013), are notable for their depiction of strong women who live by a strict moral code (even if this code is at odds with traditional morality).
There may be some truth to the value of escapism and voyeurism, but this film inflates their value more than it can justify. Equating Mrs. Henderson’s efforts with patriotism is absurd, and using the passing of her young son to justify her behavior cheapens his death.
A Cry in the Dark (1988)
During a camping holiday in the Australian Outback, Michael (Sam Neill) and Lindy Chamberlain (Meryl Streep) are confronted with every parent’s worst nightmare. Their newborn daughter, Azaria, is abducted by dingoes. An inquest verifies their story, but as public opinion turns against the cold Lindy, they’re retried and convicted of the crime. Michael is convicted as an accessory and given an eighteen month suspended sentence; Lindy is sentenced to life imprisonment. Three years later, physical evidence exonerating the Chamberlains is accidentally uncovered and they are finally freed.
This is a frustrating movie. You feel anger for the ordeal the Chamberlains endured, but Lindy Chamberlain is so aloof and defiant, it’s hard to sympathize with her. There’s something unnerving about her nonchalant reaction to the death of her child. On the other hand, Michael Chamberlain is so distraught by Azaria’s death he makes a horrible witness and seals his own fate. She’s too emotionless; he’s too emotional. It’s easy to see why they looked suspicious.
Streep’s performance is impeccable, but this long and drawn out movie feels like a special Law and Order episode.
A Star is Born (1976)
After aspiring singer Esther Hoffman (Barbra Streisand) meets successful singer John Norman Howard (Kris Kistosferson), the two form an unlikely romance and eventually marry, but as Hoffman’s success eclipses Howard’s, it strains their relationship.
I liked the 1937 version with Janet Gaynor and Frederic March. I loved the 1954 version with James Mason and Judy Garland. Sadly, the third time was a disaster.
Aside from shift the setting from the film industry to music industry, this version is a fairly faithful re-imagining of the piece.
Kris Kristoferson does a passable job playing a fictionalized version of himself, but his romance with Streisand is lifeless.
I like Streisand’s early work. She’s good in Funny Girl (1968) and Hello Dolly (1969) and What’s Up, Doc? (1972) is a hysterical film. She’s a talented comedic performer, but not believable in a straight romantic role.
The music may have played well in 1976, but it’s cheesy now and dates the movie.
Unless you have an affinity for insufferable films, avoid this.