Throne of Blood.
Word arrives at Spider’s Web Castle of invading enemy forces to many of the lord of the castle’s fortresses. Washizu and Miki, two of the lord’s trusted commanders, admirably defend the fortresses under their control, defeating many enemies and turning the tide of war in the lord’s favour. As the heroes return to the castle, they become lost in the labyrinthine Spider’s Web Forest where they happen upon an evil spirit who tells of their future and that of the castle. Though reluctant to accept their apparently absurd fortunes, before long the spirit’s premonitions come true and, with his mind poisoned by his suspicious, scheming wife intent on seeing the prophecy fulfilled, Washizu takes drastic actions to realise his destiny. Akira Kurosawa’s feudal Japan reimagining of the Shakespearean classic Macbeth is an atmospheric historical drama as bleak as the mist covered landscapes that surround Spider’s Web Castle. Visually stunning, Throne of Blood exemplifies Kurosawa’s ability to create engaging samurai stories through exquisite design and photography. Reflections on the concept of destiny and the futility of ambition are considered, while Toshiro Mifune’s inevitable climactic scene is legendary.
Witness for the Prosecution.
Sir Wilfrid Roberts, a bad-tempered and even worse-mannered barrister, returns to his London office following a heart attack. Forbidden by his doctor from taking any criminal cases that could prove to be too excitable for him, Sir Wilfrid is constantly accosted by private nurse, Miss Plimsoll. When Leonard Vole, a man who believes he may be implicated in the murder of a rich widow, asks for help, Sir Wilfrid can’t resist defending him, despite Miss Plimsoll’s objections. As Sir Wilfrid argues for Vole’s innocence in court amid deteriorating health, it becomes clear that he cares more for the life of his client than he does for his own. As instructed, I shan’t divulge the revelations Billy Wilder’s Witness for the Prosecution has in store, only that it is a thoroughly fascinating noir-ish courtroom drama so rich in suspense and mystery, it is commonly compared to, and even mistaken for, a classic Hitchcock. Billy Wilder’s script, adapted from the Agatha Christie play of the same name, is filled with his trademark witty dialogue, brought to life superbly by a wonderful cast with genuinely funny interactions between real life husband and wife Charles Laughton and Ella Lanchester in the patient-nurse dynamic. A true classic worth revisiting again and again.
The Bridge on the River Kwai.
A contingent of whistling British soldiers arrive at a Japanese prisoner of war camp, lead by Colonel Nicholson, a man who believes, since his men were ordered to surrender, they should remain obedient and cooperate with their captors. The camp commander, Colonel Saito, informs the prisoners that they are to build a bridge over the Kwai River in order to complete a Burmese railroad network, and that escape from the camp is impossible due to the dense jungle that surrounds it. Nicholson and Saito clash over the latter’s insistence that officers are also to partake in labour, a practice that is forbidden by the Geneva Convention; Nicholson, being a man of strong principles, values honour and civility above all else, a stark contrast to the merciless Saito, who declares that war is war and that there are no rules. With a looming deadline and the prisoners deliberately sabotaging work on the bridge, a desperate Saito allows the tortured Nicholson to take charge of construction; seeing the bridge’s potential, the British colonel intends to build a monument that is to remain for centuries, symbolising the British spirit and workmanship. Unbeknownst to either colonels, escaped prisoner, US Navy Commander Shears, is on a covert mission to destroy the bridge and cripple the Japanese rail network. The Bridge on the River Kwai is the definition of a classic. A World War II epic that focusses deeply on character motivations and raises more than a few questions on class and culture. It’s difficult to believe this picture is nearly 65 years old, given the quality of photography on display: many of the scenes are visually impressive even by today’s standards. Alec Guinness bags himself an Academy Award in possibly his career defining role as Colonel Nicholson, with Bridge sweeping up another six.
The Cranes are Flying.
22nd June, 1941. Veronika and Boris are a couple in love. Walking happily by the side of a Moscow river, they watch as a flock of cranes fly overhead in the early morning sun before sneaking back into their families’ apartments. Boris is awoken several hours later to the news that the Germans have invaded the Soviet Union. Veronika and Boris later discuss whether he will volunteer for the war or if he will be drafted, as well as plans for their wedding; Veronika soon learns that Boris has, however, already volunteered and is due to leave within days. As dozens of families see off their men at the station, Veronika fails to find to Boris amongst the crowd and so he leaves for the front line while she is to remain in Moscow, without a parting word; it will be a difficult four years for everyone. The Cranes are Flying is a tragic love story to rival that of Jack and Rose that reflects on the psychological impact of the war on those “back home”. In contrast to The Bridge on the River Kwai, Cranes looks considerably older than a 1957 picture, no doubt due to a significantly lower budget, yet the cinematography is visually inventive, particularly the groundbreaking use of handheld cameras. A powerful, influential film that changed the landscape of post-war Soviet cinema.
Nights of Cabiria.
Cabiria and Giorgio are a couple apparently in love, walking happily by the side of a Roman river. He reveals his true intentions however when he snatches her purse and pushes her into the water. Rescued from drowning by locals, Cabiria returns to her small house in one of the less affluent areas of Rome, embittered by the experience she curses her unrequited love. Continuing her work as a prostitute, Cabiria searches for the love she desires, meeting all kinds of men along the way, even going so far as to ask for religious intervention to save her from the life she has begun to detest. Will she realise when the right man is in front of her, or is it too late? Nights of Cabiria opens with a scene similar to that of The Cranes are Flying, two lovers in each other’s arms by the side of a river. Though both films are tragic, it is for entirely different reasons. While Veronika and Boris were very much in love, Cabiria is still searching for someone to share her life with, though she meets potential suitors, it always seems to end in heartbreak. Federico Fellini’s masterpiece of Italian neorealism reveals the ugliness, desperation and hope in every day life, captured superbly by Giullieta Masina’s performance as the heroine, Cabiria. A tragic, moving, yet optimistic tale.
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