No order, 1 per director. Always evolving.
Funeral Parade of Roses
In a Japanese version of "Oedipus Rex," a gay son murders his mother and sleeps with his father.
I cannot speak for every gender non-conforming person in the world; I can only speak for myself. Firstly, I use "gender non-conforming" simply because I don't know a better term for it. Secondly, every time I see a film like this, I am trapped between feeling like I've dodged a bullet, feeling like an imposter, feeling jealous, and feeling like there should be more in art and media than the dark side of trans-life.
The film is a complex mess of imagery, a menage of docudrama, Warholian observation, theatrical hyperbole, and Greek tragedy, all of which capture the drugs, prostitution, and dizzying nightlife of Japanese LGBT (mostly G & T) culture of the late sixties. Seeing the inherent violence, exclusion, and…
At this moment, I'm not sure how to cope with this as a piece of filmmaking, or how to describe its story. Instead, I'll be writing a personal review, sort of how this compliments my own life's narrative. Not used to doing this, so bear with me.
I suppose I would identify as bisexual or pansexual, but terms and labels are generally idiotic, and I prefer not to use them. I've known I'm not straight since sophomore year in high school, but only stopped suppressing these feelings and came out to people last year. In fact, this month it will be one year, I think. I am not out to family (was raised by devout Presbyterian parents), and not out…
With subliminal Warholian vignettes, fragments of cinematic hapax legomena (if such term could be applied to the film industry), assaulting psychosexual imagery, fragments of societal ridicule, jaw-dropping personifications, a fractured chronology, revolutionary techniques of film editing, a ghastly and hypnotic camera work and metafilm self-references, Bara no sôretsu is one of the most enthralling, unpredictable and thought-provoking avant-garde experiments that international celluloid has ever offered to mankind.
It starts with a statement:
"I am a wound and a sword, a victim and an executioner."
Then it proceeds with an alienating world beyond our comprehension. That is the first invitation you will ever receive to turn off your screen or leave the theater, because this nearly-metaphysical parade of memoir fragments and…
" I am the wound and the Blade,both the torturer and he who is flayed "
Long before metal music and fight clubs started gathering buzz a counter culture of another kind was blossoming underground...Toshio Matsumoto delves into loneliness,ostracization,identity crisis,hallucinogenic trips brimming with carefree abandon,Oedipal undertones..He directs the scenes with utmost brutal honesty...
Stanley Kubrick was surely inspired by the restless energy,music and imagery whilst scripting A Clockwork Orange .. i bet even Park Chan-Wook took notes while making Oldboy!!!
As for the climax i am still in a state of shock and astonishment;literally my jaws dropped when i saw it...MUST MUST MUST WATCH!!!!!!!!!!!!!
June Scavenger: 3/30
8. A Japanese New Wave Film
This is one that I was truly intimidated by for many years. On two other occasions I have attempted to watch it and both were interrupted by technical difficulties. I took this as a of sign that I wasn't ready for it. A bad/sometimes good- habit of mine is choosing to wait to watch a film at the exact moment I'm "supposed" to. I'll put off watching a film that I know will profoundly effect me for years. It has to be just right. Similarly, I do the same with reviewing. It's often easier to circle around peripheral thoughts than just finalize a serious summary on a film of…
"I wish the whole country would sink under water." - Eddie
Watching Toshio Matsumoto's Funeral Parade of Roses feels a bit like drowning. We are left to flail helplessly in a flood of scenes and images, tossed to and fro within the timeline of the film's underlying story. We sometimes find a brief respite in unexpected documentary-like inclusions that blur the line between fantasy and reality before being ultimately pulled under by the film's dark and jarring conclusion.
At the heart of the story are two transvestites: Leda, a bar madame, and Eddie, a young hostess. A refugee from a troubled and mysterious past, Eddie floats aimlessly through world of sex, drugs, and rock n roll while chumming it up…
A difficult movie to contend with in 2016, at times. Obviously progressive to some extent, very very progressive for its day and age, I guess what gives me pause at the end of the day are two things.
The first could be easily explained away, and might just be these "modern eyes/ears" getting caught on the weird stilted line of questioning directed at Eddy, at the end of the day I think it provides clarity for an audience who likely knew little to nothing about folks who were gender non-conforming, so this isn't a major sticking point but I think it ended up coloring the rest of my take. Now, the real sticking point is one that burdens a lot…
"Behind the masks, faces suffer loneliness. People try to escape..."
Well, this definitely isn't Ozu's Japan, that's for damn sure. This is one of those films that I'd been meaning to see for a long time but just never got around to for whatever reason (it's been sitting on my hard drive for over a year as it is). If nothing else, I'm at least glad that I finally watched it, even if it's the type of movie that I ended up enjoying less and less the longer it went on. I do sort of wonder if I had seen it when I was younger I might have appreciated some of it's more over-the-top "shocking", "transgressive" elements a bit more.…
perfect in every single way
"NO TIENES NI PUTA IDEA DE CUAL ES EL CAMINO DEL TAO, HIJO DE LA GRAN PUTA!!!"
Whoa, major masterpiece alert! :-o
experimental candy. look out for a bunch of shit kubrick racked and put in clockwork. pleasure to watch, pretty sure the ending is fucking stupid. ive seem a bunch of stuff try transpose greek tragedy into modernity recently and for it not to be dumb you have to be really careful. this one is, mostly.
This review may contain spoilers. I can handle the truth.
The film didn't need a plot twist, but it was a great one. Visuals of course are fantastic, and then there's some really great 60s Japanese freak-out music that's almost just guitar feedback
All definitions of cinema have been erased. All doors are open now.
- Menas Jokas
A film ahead of its time, Funeral Parade of Roses is stylish, brave, and unwavering. If nothing else, it deserves the praise for helping to provide the inspiration behind A Clockwork Orange.
High-rated movies with very few views. Suggestions are welcome.
obviously I have barely scratched the surface of what cinema has to offer, but from what I can currently gather…