Like the dull echoes of the cannons in the distance - just a single facet of the film’s excellent sound design - Coppola’s version of The Beguiled is far removed from any semblance of interesting exploration into the narrative’s latent potential for compelling storytelling. What could have been an intensely unsettling chamber drama (and how brilliantly the chambers are lit) ends up just being a hollow, anti-climatic film with not much to say.
Masaaki Yuasa very seldom makes a misstep, and 夜は短し歩けよ乙女 (The Night is Short, Walk On Girl) is not one of them.
He continues to expand on the inventive style he explored in The Tatami Galaxy, but this time with only 90 minutes to do it in - however the manic pace that Yuasa's works are usually characterised by settles in nicely considering the 'single-night' narrative layout (something I hadn't actually realised when reading the book) here as well. Although there…
It's thirty minutes too long, over-melodramatic and way too sentimental, but I'll be damned if I can think of the last time a movie made me weep like this one did. Keeping in mind that Japan has a long history of people proclaiming how a full moon brought them to tears - one only has to skim through the country's vast body of ancient literature to get an idea - it's understandable that the Japanese people have an affinity with…