A beautiful film, but a case of side characters being much more interesting than the main characters.
Also, the sound design was fantastic.
Despite some brilliant direction, as always with Altman, M.A.S.H just isn’t that funny. I’m as down for offensive humor as the next guy, but snickering along with the bullies is one dimensional to me. This felt like an irreverent frat party, featuring one hazing after another, wanting you to enjoy it unironically.
I enjoyed the bumbling depiction of the army as a metaphor for American pointless recklessness overseas, but that’s about where my enjoyment ended. The humor is too “nudge wink” for me.
Akira Kurosawa's frequency is more in tuned with his own generation's. Which is ironic considering the subject matter of Ikiru. The world has equal parts moved on and stayed frustratingly the same. Watanabe tries to figure out who he is and the mark he desperately tries to leave on the world around him. Despite the faster frequency we live in today, Ikiru is a film that's moved me in a way few others have. It's an honest film that wears…
I'm only dropping in to make this one observation:
I can't help but compare Sunset Blvd. to Inarritu's Birdman. Both are about washed up actors trying to make a come back. Both are about those actor's insane egos, both feature real "past" actors playing post-modern roles, both feature the theme of suicide in some aspect, and both are about a changing film landscape that Riggen and Norma fight violently against.
The only difference is, Sunset Blvd. takes a tragic look…