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4.235.205.10
Denmark's stage actors fill the key roles in this film which tracks the odyssey of a young man living the good life as the owner and manager of a hip restaurant who also is dating one of the city's most sought after babes, a singer on the verge of stardom.
Then his father, the head of one of the largest steel companies, dies, leaving a void of leadership which threatens to collapse the company and drive his mother and the rest of the family into penury.
I found myself comparing, almost against my will, the rise of this "innocent" young man to that of Michael Corleone... and I'm afraid that Coppola's effort came up short: this is a much more realistic, world-knowing, deeply affecting portrait of the power which power over others has to bend and shape an individual, almost against his will.
Throughout, the director keeps surprising us, usually just when we think a morality cliché is about to be dropped on us.
Highest recommendation.
Don't neglect Scandinavian film: it didn't end with Bergman, you know!
Follow Ups:
Can we blame the movie makers for re-using names?
a
We had watched many Asian movies, but somehow I must say they do not resonate as strongly... well, some of them do, but in general I still feel foreign to them.In fact, I don't have anything against them, and recently there just have not been much in a way of recommended ones, I am afraid. But it is not correct to say we never watch them, as we are quite familiar with many.
regularly been posting about terrific Asian films, Japan, Taipei, Hong Kong, Korea, Thailand... many excellent directors and their films.
You don't think Kurosawa, Ozu are inferior to ANY directors, from any country, do you?
China recently has had many, many fine films from both "5th... 6th generation" directors.
Go for it, Vic, especially since Tony T "spoke" to you.
Be forewarned: the paradigm is quite different from Western. Very sparse dialogue, long shots with little active camera movements, loose plot structure.
It takes as much adjustment as appreciating de Kooning, Pollock, Rothko, or Duchamps for traditional art afficiionados.
Thank you for your advice, but I am quite familiar with the Asian cinema. I had posted on perhaps hundreds of movies from that region, so no need to patronize.My fairly recent shift from them has some justification. I had noticed that some of them - especially recently - had been made with an eye on catching the Western viewer through gentle manipulation and eploytation of the "exotic" element, and I dislike that. I am not trying to present that as a predominant or even true trend, just my strong impression. So I am not diving into it head-long, but just as before I keep paying attention to what's good out there. My life is too short to cover all the good movies, unfortunately.
to see many of your Asian film postings.
None of the better Asian directors I like go "exotic."
Zhang Ke Jia, Ratanaruang Pen-ek, Tsai Ming-Liang, Wong Kar Wai, Park Chan-wook, Bong Joon-Ho, Miike... all focus on the antithesis of exotic (dealing with the cultural clashes and disorientation Westernization has wrought) and concentrating on plebeian subjects with quotidian lives.
If that's not too much, could you put together a list of ten or so titles?
And a few more:
Maborisi.
A Better Tomorrow.
The Cure.
Vengeance is Mine.
It didn't help that I brough about twenty films with me from Russia either.
a
Over the years they had done tremendous job growing it, not just in size but also covering many outside the mainstream areas. Kudos to the business managers, as undoubtedly those obscure foreign films do not generate noticeable cash flow - so they do that simply because it is right thing to do.
Here's a list of some favorites: I listed ZKJ and not other directors 'cause the first film I list has many other similarly titled.Zhang Ke-Jia: The World; Platform.
Assorted other directors, all available Netflix:
Blind Shaft.
Memories of Murder.
Rebels of the Neon God.
Days of Being Wild.
Joint Security Area.
To Live.
Rainy Dog.
.
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