Dream Island Girl is a visual poem about the loss of humanity in the age of material civilization. The plot is an illusion. Like in a dream, the emotional narrative tells the story.

Quote:
Some key points (CONTAINS SPOILERS)

The main theme tune is Pachelbel’s Canon in D, which represents the eternal.

Dream Island is a landfill garbage dump, symbolising the end result of civilization.

The lonely girl from the coastal countryside wanted to escape to Tokyo, but once there her dreams were shattered by the harsh realities of modern city life. She dreams about the world she left behind.

[04:11] Dialogue in tunnel~
Boy : “Sleep… Sleep…”
Girl : “Where are you going? Where are we going?”

The first memory depicts bereavement, death of parents, followed by the girl looking back and bathing her feet in the waves. As it reads in the script: “Only the sea heals the girl.”

In the girl’s boss’ apartment (the adult room) the girl starts playing Pachelbel’s Canon on piano and declares “I found this…” (eternity/ happiness through the eternal), repeating her words to emphasize the importance.

[36:08] In this scene the boy is making a declaration of love by asking her to stay with him forever. At first she’s scared and annoyed by anguish because she doesn’t want to feel trapped in Dream Island anymore. Her feelings give way to affection, but she decides to return home. From this moment on, boy pursues girl.

In the scene (during hometown memory) where the girl is chased into a hut, the encounter with a stranger is possibly symbolic, expressing that there is no safe haven in this world. (Adult world invades the sanctity of childhood memory). The scene ends with the girl licking her wounds (which the script describes as self-healing), followed by the present day girl basking in the healing power of sun and sea.

The girl can look back but she cannot return to the past.

The boy descends deeper into delusion. The girl’s boss is a symbol of the society the boy wants to destroy in revenge, the modern world that causes suffering.

The girl mutters repeatedly…
[58:14] “What should I do?”
[59:15] “Ken, I’m coming home.”

Boy and girl are reunited in a union of empathy and love. (Notice the girl is wearing the boy’s necklace). The union is healing~

The girl as a red rose. Girl and boy as red roses, in the river of life that runs through the city.

The boy who has offered support.

Reveal : Has the boy been carrying the dead girl all along? Is it all his illusion?
(Or shared dreams?)

The boy prays for sublimation.

Transformation through death & rebirth~

Girl looks to boy. Together, they escape into a new dream.

The girl is the boy’s eternal canon, something irreplaceable. He will carry her forever in his Dream Island emptied of the broken civilization.

The final scenes are a depiction of harmony and circle, with a sense of resurrection. In the end there is no end, only the eternal. The cycle of life is endless. The heading in the script for the final scene is “Country of Death–Rebirth.” The boy and girl are the people of Japan (the next generation).

Footnotes

The film uses a Japanese colour-code system of expression. Relating to the girl’s clothing but also to objects, backgrounds and surroundings~

White = innocence/ purity
Red = life experience/ adulthood
White/red = combination of the two/ in between/ transitional
Dark blue = maturity (specifically female/ womanhood) and is directly related to the sea (this is in reference to her adult dress on Dream Island)

Her white/red yukata dressing gown design features sakura (cherry blossoms).

The name of the girl’s hometown Hachimori means “forest” (many-trees).

The director describes the river that runs through the city as the river of life, continuously flowing. Water is a rejuvenating force. Flowers blossom.

[01:07:44] During the final chapter (death & rebirth) the girl can momentarily be seen as the White Bride riding the funeral cart in place of the coffin. You can barely notice her before she disappears out of shot. The script describes the funeral procession as heading towards the sea. In the penultimate scene the script describes the boy and girl as floating in the air (they are both on that cart), looking to the sky and disappearing into the sea.

From black screen to white, darkness into light, through the tunnel of the dream.
RK. ƸӜƷ

Director: Shôichirô Sasaki
Writers: Shôichirô Sasaki
Cast: Toyo Kikuchi, Sachiyo Nakao, Kazuki Tomokawa
Producer: Megumi Fujimura
Cinematography: Tetsuro Katsuragi
Production Company: NHK
Country: Japan
Language: Japanese
Runtime: 1h 15mn

	
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Language(s):Japanese
Subtitles:English, Russian, Japanese

The post Shôichirô Sasaki – Yumenoshima Shôjo AKA Dream Island Girl (1974) first appeared on Cinema of the World.

Quote:
Written by the Liverpool socialist, Jimmy McGovern, Sunday tells the story of the events of January 30th, 1972 when British Paratroopers shot dead 13 unarmed civilians, and wounded a further 15, during an illegal civil rights march in Derry, Northern Ireland. The day which went on to become known as ‘Bloody Sunday’.

The film was commissioned by Channel 4 to be shown on the 30th anniversary of the shootings. In preparation for the film an extensive and wide ranging research interviews were carried out amongst both the families affected by the tragedy and the British paratroopers who fired the bullets. In total more than 100 first hand interviews were recorded, and it is on the basis of that work that Jimmy McGovern wrote his script.

It tells its story through the eyes and emotions of the families of the victims and, more widely, of the Bogside community and then goes on to examine the political conext for ‘Bloody Sunday’, as well as the impact of the first official Government Inquiry into the day itself, conducted by the then Lord Chief Justice, Lord Widgery, in 1972.

On broadcast the film faced a barrage of criticism from a variety of commentators. The film was one-sided, ran the refrain, depicting the paratroopers as heartless killers, and all of the dead and wounded as innocent victims. And why, they asked, the continuing concentration on Bloody Sunday, when nobody’s made a movie about other atrocities, in some of which just as many people died at the hands of republican or loyalist paramilitaries?

McGovern answers that what drew him to the subject were precisely the things which made Bloody Sunday different, and which gave the day a pivotal significance in the politics of Britain and Ireland. Bloody Sunday wasn’t perpetrated by furtive guerrillas lying in wait on a lonely road in the dead of night, but by uniformed agents of the British State in a built-up area on a bright winter’s afternoon, witnessed by hundreds who had fled from the hailstorm of bullets into houses and high-rise flats all around. People in the Bogside didn’t demand a public inquiry afterward because they wanted to find out the truth but because, knowing the truth, they wanted it acknowledged.

It was because it wasn’t acknowledged, because the truth was whitewashed out of history, the victims demonized and the killers lauded, that young people in Catholic working-class communities across the North saw themselves facing a choice between giving up the fight for equal rights or finding guns and fighting back. The film accurately depicts the mushroom growth of the IRA beginning before the sweet stench of cordite had cleared from lower Rossville Street.

The strength of McGovern’s film lies in the way it shows that the killings hadn’t resulted from accident or misunderstanding or because psyched-up soldiers ran amok. The British commander of land forces in the North, Robert Ford, had laid out his intentions in a memo to the general officer commanding three weeks before the slaughter, on Jan. 7, 1972: “I am coming to the conclusion . . . that we must shoot selected ringleaders of the Bogside young hooligans.” McGovern puts Ford on screen dictating the memo, then shows him on the ground on the day urging the paras to “Go on . . . go and get them.”

McGovern shows the source of the evil which burst on the Bogside located in the conscious intentions of the British political, military and legal elite, when he depicts Tory Prime Minister Edward Heath steering Lord Chief Justice Widgery (appointed just two days after the event to conduct a public inquiry) toward the conclusion the British establishment wanted drawn.

Despite all this, the script transcends personal loss and communal grief to tap into the trauma of those who are oppressed and murdered everywhere because seen as enemies of the State. The dilemma presented isn’t that of a hero emoting on behalf of the people, but of the plain people themselves torn between a thirst for justice and an instinct for revenge.

Director: Charles McDougall, Jimmy McGovern
Writers: Jimmy McGovern
Cast: Ciarán McMenamin, Barry Mullan, Paul Campbell
Producer: Gub Neal, Stephen Gargan, Catriona McKenzie
Cinematography: Barry Ackroyd
Music: Adrian Johnston
Production Company: Sunday Productions, Channel 4 Television
Country: United Kingdom
Language: English
Runtime: 1h 34mn

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Language(s):English
Subtitles:English SDH

The post Charles McDougall & Jimmy McGovern – Sunday (2002) first appeared on Cinema of the World.

In the ruins of the village of Marialva, an old lady guards the entrance of what is now a cemetery, telling and retelling the history of the curse of Marialva that started a thousand years ago, when the place was a crowded village. The story starts in the day three men were sentenced to death and their wife and daughter, sentenced to be marked by fire.

Director: António de Macedo
Writers: João Palma Ferreira, António de Macedo
Cast: Lídia Franco, Carlos Daniel, Carlos Santos
Cinematography: José Luís Carvalhosa
Production Company: RTP, Cine-Qua-Non
Country: Portugal
Language: Portuguese
Runtime: 1h 22mn

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Language(s):Portuguese
Subtitles:English, Portuguese

The post António de Macedo – A Maldição de Marialva AKA The Curse of Marialva (1989) first appeared on Cinema of the World.

One of three films at Tribeca about gang warfare between the Crips and the Bloods, Antoine Fuqua-produced docu, directed by 32-year-old Los Angeles gang member Cle “Bone” Sloan, steps back from the vicious cycle of death and revenge long enough to answer the question, “How did we get here?” with economy and clarity. Tracing the evolution of the gangs through a history of racism and externally encouraged divisiveness, “Bastards” indicates paths away from self-genocide as it reveals the face of a common enemy. Must-see docu reps a promising start for Fuqua’s independent production venture.

An eloquent spokesperson for the Bloods since the L.A. Riots projected him into the public eye on “Larry King Live,” “Nightline” and “Oprah,” helmer Sloan subsequently became involved in filmmaking as an assistant cameraman and then as actor (most notably in Fuqua’s “Training Day”) before turning documentarian.

Sloan fashions a sobering decade-by-decade chronicle of discrimination and repression, drawing freely from contemporaneous accounts in the California Eagle, newsreels, FBI memoranda and Los Angeles historian Mike Davis’ “City of Quartz.” Pic attributes the formation of the first black gangs to self-defense against racist white gangs like the Spookhunters and analyzes the systematic targeting of the black community during the reign of police chief William Parker.

Sloan’s account becomes richer in eyewitness testimonials and archival documentation in its discussion of the ’60s, when many black gangs became associated with political causes.

Historian Davis outlines sweeping changes in black neighborhoods in the ’70s: Drained of political ambition, their leaders killed off, and facing a new economic climate that saw the closing of factories and a dearth of semi-skilled jobs, black gangs turned to drugs, imported in record quantity allegedly through CIA-Contra links and celebrated by blaxploitation films as the only viable form of black capitalism. The criminalization and warehousing of black youth in jails, pic posits, answered society’s dilemma of what to do with a superannuated workforce. (Urban legend ascribes the origin of the Crips- Bloods war to a dispute over a leather jacket.)

Sloan’s forceful presentation becomes diffused and anguished once it catches up with the decades the helmer himself has lived through. Ultimately, Sloan understands that despite the politically compelling reading of events “Bastards” constructs, history pales before the emotion-charged parade of shootings and funerals that increasingly comprise the fabric of gang members’ lives.

Tech credits are polished, though pic would profit from some tightening in its last half-hour.
-variety.com

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The post Cle Shaheed Sloan – Bastards of the Party (2005) first appeared on Cinema of the World.

Tormented and bedridden by a debilitating disease, a mystery writer relives his detective stories through his imagination and hallucinations.

Quote:
Re-working material from his first novel, “Hide and Seek” (1973), and folding this into a prismatic blend of autobiographical details, popular music and 1940s film noir, Writer Dennis Potter delivered a drama now regarded as a twentieth century masterwork. Detective novelist Philip Marlow (Sir Michael Gambon) suffers from the crippling disease of psoriatic arthritis. Confined to a hospital bed, Marlow mentally re-writes his early Chandleresque thriller, “The Singing Detective”, with him in the title role, drifting into a surreal 1945 fantasy of spies and criminals, along with vivid memories of a childhood in the Forest of Dean. As past events and 1940s songs surface in his subconscious, Marlow’s voyage of self-discovery provides a key to conquering his illness, while his noir-styled hallucinations evoke the Philip Marlowe of Chandler’s Murder, My Sweet (1944), starring Dick Powell, who later became a “singing detective” on radio’s “Richard Diamond, Private Detective” (1949), crooning to girlfriend Helen Asher at the end of each episode.

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Language(s):English
Subtitles:English, English SDH

The post Jon Amiel – The Singing Detective (1986) first appeared on Cinema of the World.

Making its debut with Romeo and Juliet on 3 December 1978, and concluding nearly seven years later with Titus Andronicus on 27 April 1985, the BBC Television Shakespeare project was the single most ambitious attempt at bringing the Bard of Avon to the small screen, both at the time and to date.

Producer Cedric Messina was already an experienced producer of one-off television Shakespeare presentations, and was thus ideally qualified to present the BBC with a daunting but nonetheless enticingly simple proposition: a series of adaptations, staged specifically for television, of all 36 First Folio plays, plus Pericles (The Two Noble Kinsmen was considered primarily John Fletcher’s work, and the legitimacy of Edward III was still being debated).

The scale of Messina’s proposal, far greater than that of previous multi-part Shakespeare series such as An Age of Kings (BBC, 1960) and Spread of the Eagle (BBC, 1963), required an American partner in order to guarantee access to the US market, deemed essential for the series to recoup its costs. Time-Life Television agreed to participate, but under certain controversial conditions – that the productions be traditional interpretations of the plays in appropriately Shakespearean period costumes and sets, designed to fit a two-and-a-half-hour time slot.

The running-time requirement was swiftly jettisoned when it became clear that the major tragedies in particular would have suffered severely, but other artistic restrictions remained largely in place throughout. Although later productions under Messina’s successors Jonathan Miller and Shaun Sutton would be more experimental, Miller was unable to persuade first-choice directors such as Peter Brook and Ingmar Bergman to take part, and Michael Bogdanov resigned from Timon of Athens (eventually tx, 4/16/1981, with Miller himself directing) after his modern-dress interpretation was considered too radical a departure.

This gave the BBC Television Shakespeare cycle the reputation of being overly staid and conventional, which was not always deserved. Though Messina’s own productions (1978-80) were largely conservative, Jonathan Miller (1980-82) revamped things both visually (thanks to a design policy of sourcing sets and costumes from great paintings of the era in which the play was set) and in terms of direction and casting, in some cases using popular actors with little or no Shakespeare experience (John Cleese as Petruchio, Bob Hoskins as Iago) to attract new and younger audiences.

Under Miller, directors such as Jack Gold, Jane Howell and Elijah Moshinsky were encouraged to be more adventurous, with Howell in particular adopting such a stylised approach for The Winter’s Tale (tx. 8/2/1981) and the Henry VI/Richard III cycle (tx. 2-23/1/1983) that they pushed the definition of “traditional” to the limit, but also garnered the series some of its best reviews. Miller’s aesthetic policies continued under Shaun Sutton (1982-85), who brought the project to a belated close.

Whatever its artistic reputation, there was no doubt that the BBC Television Shakespeare was a commercial triumph, breaking even financially by 1982 (ahead of expectations) and fully justifying Messina’s gamble. Its success was helped by the rapid growth of video recorders in schools, creating a secondary market that was much bigger than initially predicted – though the initial decision to sell the plays only as a complete set provoked complaints from people who baulked at paying the substantial asking price because they were after a smaller selection or individual titles. The BBC eventually released some of the more popular titles separately, but it was not until late in 2005 that the entire series was available individually on DVD at a competitive price.

Although the BBC Television Shakespeare project as a whole met with a mixed reception, it had several positive virtues. Chief among them was the fact that its completist remit meant that several of the more obscure plays received their first television adaptation, and in most cases the BBC version remains the only one. Happily, such productions as Henry VIII (tx. 25/2/1979), Cymbeline (tx. 10/7/1983), Pericles (tx. 11/6/1984) and Titus Andronicus were considered amongst the cycle’s most impressive achievements, with Henry VIII subsequently voted the best production of all by the Shakespeare Association of America.

A complete list of BBC Television Shakespeare productions is as follows:

Series One (producer: Cedric Messina): Romeo and Juliet (tx. 3/12/1978), Richard II (tx. 10/12/1978), As You Like It (tx. 17/12/1978), Julius Caesar (tx. 11/2/1979), Measure For Measure (tx. 18/2/1979), Henry VIII (tx. 25/2/1979)

Series Two (p. Cedric Messina): Henry IV Part One (tx. 9/12/1979), Henry IV Part Two (tx. 16/12/1979), Henry V (tx.23/12/1979), Twelfth Night (tx. 6/1/1980), The Tempest (tx. 27/2/1980), Hamlet (tx. 25/5/1980).

Series Three (p. Jonathan Miller): The Taming of the Shrew (tx. 23/10/1980), The Merchant of Venice (tx. 17/12/1980), All’s Well That Ends Well (tx. 4/1/1981), The Winter’s Tale (tx. 8/2/1981), Timon of Athens (tx. 16/4/1981), Antony and Cleopatra (tx. 8/5/1981)

Series Four (p. Jonathan Miller): Othello (tx. 4/10/1981), Troilus and Cressida (tx. 7/10/1981), A Midsummer Night’s Dream (tx. 13/12/1981)

Series Five (p. Jonathan Miller, Shaun Sutton): King Lear (tx. 19/9/1982), The Merry Wives of Windsor (tx. 28/12/1982), Henry VI Part One (tx. 2/1/1983), Henry VI Part Two (tx. 9/1/1983), Henry VI Part Three (tx. 16/1/1983), Richard III (tx. 23/1/1983), Cymbeline (tx. 10/7/1983)

Series Six (p. Shaun Sutton): Macbeth (tx. 17/10/1983), The Comedy of Errors (tx. 24/12/1983), The Two Gentlemen of Verona (tx. 27/12/1983), Coriolanus (tx. 21/4/1984), Pericles (tx. 11/6/1984)

Series Seven (p. Shaun Sutton): King John (tx. 24/11/1984), Much Ado About Nothing (tx. 30/11/1984), Love’s Labour’s Lost (tx. 5/1/1985), Titus Andronicus (tx. 27/4/1985)

The BBC also produced Shakespeare in Perspective, an accompanying series of 25-minute personal introductions to individual plays by an eclectic range of presenters from the literary (Anthony Burgess, Dennis Potter, Jilly Cooper) to the scholarly (Germaine Greer, Frank Kermode, Michael Wood) to the celebrity (Roy Hudd, George Melly, Barry Took). These usually took the form of straight-to-camera addresses from assorted locations with some connection to the play, which were intercut with extracts from the accompanying BBC Shakespeare production, usually screened later that evening.

Michael Brooke

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The post Jonathan Miller – King Lear (1982) first appeared on Cinema of the World.

Deine besten Jahre AKA Your Best Years
Vera Kemp is a financially secured company heiress. As an art historian she is a public figure. She’s a wife and mother who has found happiness in private life. At her 36th birthday a younger woman claims to be her husband’s mistress. Vera Kemp decides to fight for the first time in her life.

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The post Dominik Graf – Deine besten Jahre AKA Your Best Years (1999) first appeared on Cinema of the World.