Tuesday 6 July 2021

100 Essential Films That Deserve More Attention - 70. A Fugitive From The Past

We embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places we could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces and fascinating curios that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

A Fugitive from the Past
Director - Tomo Uchida
Country - Japan
Year 1965
Runtime - 183 minutes

A Fugitive from the past is an epic crime saga tracing the lives of a criminal, Inukai, who flees from a heinous act to start a new existence as a successful businessman in Tokyo, and a prostitute, Yae, who shelters Inukai from his crime and longs to return her thanks for his generosity when he pays her handsomely after only a single night together. Close on their tail is a world-weary policeman, Yumisaka, who is devoted to solving Inukai’s crime; with a determination that drives his obsession to the limit at the expense of his family life. This core triumvirate of characters provide the emotional heft for the saga, in a fascinating tale that spans years as it examines the inherent cultural class differences in post-war Japanese society.

Opening with an enthralling sequence in which Inukai and two other offenders flee from a crime under the cover of a relentless storm, A Fugitive from the Past grabs your attention immediately with exposition that delves into the nuances of their escape to safety. As a backdrop to the main story we see a huge passenger ferry capsize in the storm and, subsequently, rescue attempts are launched from the beach where the criminals have fled to in order to make their escape. When the weather settles, two unidentifiable corpses are washed up by the tide, and the police suspect they were somehow connected with the murder, theft, and arson that have left a helpless family in ruins.


Once the storyline steps forward in time to ten years after the initial incident, we see a shift in direction as the screenplay evolves into a film-noir style mystery that intriguingly traverses the route of a police procedural drama. Each of the main characters are now grappling with demons from former days - a universal theme that resonates with anyone of a certain age, regardless of what the regrets may be – and the search for truth amidst a clouded past. These themes expand to encompass the morality of humanity and the choices we make that shape our lives forever; creating a deep and involving film with a rewarding payoff and a handful of heart stopping narrative turns along the way.

Rentaro Mikuni, who portrays Inukai, has a truly commanding presence - although the character’s prominent stature and assertive persona only come to the forefront in the second half of the film. As an anxious offender fleeing from the law, Mikuni appears suitably unhinged, and he undergoes a striking catharsis to become the businessman with an apparent clear conscience who is ruthlessly interrogated by the police. Yumisaka, the shamed policeman who is haunted by his failure to solve the case, could easily be the blueprint for similar characters in many modern crime films and he is played by Junzaburo Ban in a stunning performance; acting as the perfect counter balance to Mikuni’s brooding criminal.

The female lead, Sachiko Hidari, carries the weight of her depressing character arc with a surprising optimism, portraying the prostitute Yae as a steadfast young woman, eager to carve out her place in the world against all odds. Her encounters with the criminal Inukai exude a natural on-screen chemistry, even when the tides are turned against her as Inuaki cruelly relinquishes an opportunity to fully escape from his devious past. There is a strong supporting cast throughout; those with mere seconds of screen time leave an indelible mark on the storyline – particularly a creepy old lady who appears possessed in a startling scene near the film's beginning, and ends up haunting Inukai’s memories.


For a film with a runtime close to three hours, A Fugitive from the Past never outstays its welcome. The intricate storyline is paced to allow the audience time to formulate their own conceptualisations, however, director Tomu Uchida still manages to deliver a revelatory outcome that many will not see coming. Akira Kurosawa is the most infamous of all Japanese directors - and rightly so - but Uchida’s mastery of the medium comes excruciatingly close to matching the finesse of his magnificent work. Alongside Kurosawa’s masterpieces such as Red Beard and High and Low, Uchida’s superb crime thriller deserves to be renowned as one of the crowning achievements of Japanese cinema during the 1960s.

If you take the time to watch A Fugitive from the Past then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!




For previous instalments in the series click here

Thursday 1 July 2021

100 Essential Films That Deserve More Attention - 69. Canoa: A Shameful Memory

We embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places we could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces and fascinating curios that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

Canoa: A Shameful Memory
Director - Felipe Cazals
Country - Mexico
Year 1976
Runtime - 115 minutes

Political upheaval in a tight-knit Mexican community leads to a savage outburst of violence against a group of outsiders accused of being communists in this shockingly brutal film that is sadly based upon a true story. Canoa: A Shameful Memory examines the build up to this tragic event, highlighting the tumultuous history surrounding the town's growth and the abuse of power by those in positions of great influence. 

Director Felipe Cazals presents this eye-opening account in the style of a documentary and this approach adds gravitas to his film's powerful and bleak message. He makes it clear from the very start that we will bear witness to the full disturbing incident, with his cautionary warning acting as an intriguing hook for those willing to delve into this traumatic reconstruction of the vicious and brutal events that shocked a nation. The considered build up to the town's inception of a lynch mob and the subsequent persecution of five innocent men ratchets the tension close to unbearable levels; there is a palpable sense of dread that permeates the ominous atmosphere, leaving the viewer genuinely fearful of that which is yet to come.

In a film with a clear focus on realism, the naturalistic performances of the cast shine through; from the hostility of the townsfolk to the petrified reactions on those of the receiving end, making Canoa a compelling but challenging experience to endure. The grim reality of the savage punishments executed by those who take the law into their own hands is a tough ordeal for the viewer - with much of the visceral violence veering dangerously close to the extremes seen in the horror genre. This is scarier than most horror films though as, in the back of your mind, there is a constant awareness that this traumatic episode actually happened - dramatically altering the lives of all who suffered and survived through the terrifying nightmare.

Part of what makes the film so chilling is that we are invited into the lives of the victims and come to respect their good-natured sense of comraderie and longing for adventure that leads them to Canoa on the way to scale a nearby mountain. Although they unintentionally rile up a handful of locals by singing on the overcrowded bus to Canoa, they do nothing that comes close to justifying the horrific treatment they receive. It is simply a tragic case of being in the wrong place at the wrong time.

The bold direction taken by Cazals in realising this powerful picture is especially impressive when you consider it was made only eight years after the events, yet it still takes an intrepid swipe at the ruling authorities it depicts, in particular the corrupt priest who encouraged the townsfolk to take action against these so called 'intruders'. The clarity of Cazals alarming vision is strengthened by his close adherence to the facts and his clear desire to share this outrageous story in an uninhibited fashion, showcasing the worst aspects of those who ultimately bear part of the responsibility for this tragedy.

Although the film culminates in a harrowing and relentless nightmare, there are many mesmerising shots of the beautiful Mexican countryside that precede this, highlighting the relative peace and tranquility of this awe-inspiring location of a town overlooked by an imposing mountain before the situation takes a turn for the worse. The film-makers clearly have a great love for their country and you can feel how appalled they are by the barbarous actions of those who are swept along with the tide, condemning their actions with a sombre and heartfelt coda that symbolises the urgent outcry of a nation in turmoil.

There is nothing more encouraging than seeing a country come to terms with its troubled history and by documenting these horrific crimes in a remarkable film, Cazal has ensured that this travesty will never be forgotten. As haunting and poignant as it is, Canoa remains a powerful work of art that acts as a vital history lesson whilst also being a truly chilling and unforgettable piece of cinema.


If you take the time to watch Canoa: A Shameful Memory then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!




For previous instalments in the series click here

Tuesday 10 November 2020

100 Essential Films That Deserve More Attention - 68. Special

People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces and fascinating curios that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

Special
Director - Hal Haberman, Jeremy Passmore
Country - USA
Year - 2006
Runtime - 85 minutes

In an era dominated by superhero films it's easy to overlook the fact that we haven't always been inundated with caped crusaders and otherworldly beings who possess fantastical powers. Back in 2006, before the superhero hype machine really began to kick in, a low budge indie film was released that tackled the genre from a unique perspective. This film was Special, a passion project by Directors Hal Haberman and Jeremy Passmore, starring Michael Rapaport as Lester, a ticket warden who is convinced he is developing supernatural powers after signing up for an experimental drug trial.

Lester's unwavering belief in his ability to levitate and read people's minds becomes the catalyst for him quitting his job to embark on a new venture as a vigilante superhero. His journey starts out as a comical riff on an origin story and develops into a frank and candid exploration of mental health. The quirkiness of the delivery enables the film to juggle these juxtaposing notions with ease; the humour never oversteps the mark and actually strengthens the impression of Lester's endearing nature. The weightier themes of delusion and depression are handled with care, instilling Special with a thought-provoking message that doesn't feel out of place in what is first and foremost a very funny film.

Comic book fans will delight in Lester's visits to his friends, brothers Joey (Joshua Peck) and Everett (Robert Baker), who own a comic book shop and indulge Lester in his amusing fantasies. Their discussions about superpowers cover intriguing ground and spur Lester on to be more daring in his methods of tackling suspected criminals. It is unclear if his Doctor, Dr. Dobson (Jack Kehler) understands the extent of Lester's delusions of if the self-made vigilante genuinely has developed unique abilities, and it is this quandary that keeps our eyes glue to the screen, eager to unravel the truth behind these mysterious powers.

Rapaport embraces the challenging aspects of his role to create a believable character we genuinely begin to care for. As Lester grapples with his new found powers, he undergoes a catharsis from a shy, unconfident man to a bold vigilante and Rapaport grounds this adjustment by reflecting both aspects of Lester's persona with a naturalism that gives the film its charm. His understated performance is a sublime portrayal of a man suffering with aspects of his mental health, and his compassionate delivery underlines the film's moving emotional hook.

Aside from Special's poignant subtext it is, at its core, a hilarious and innovative science-fiction comedy. Scenes in which we witness the event's from Lester's perspective and then subsequently revisit the action from the view of other characters highlight the self-destructive ignorance of Lester's state of mind in an amusing manner that extracts the maximum amount of humour from the enthralling concept. Lester dons an outfit of his own making and adorns it with the logo of the drug that he is taking, alerting others to his unhinged nature as he tackles suspected criminals (and innocent bystanders) to the floor. The arrival of strange men in suits casts a shadow over Lester's new found role in society as well as giving us pause for thought over whether he really is the recipient of an experimental wonder drug.

Although Special hasn't received the same level of attention as similar films such as Defendor, Super and Paper Man, it undoubtedly paved the way for these innovative spins on the superhero genre and some of its originality may now be overshadowed by the imitators that followed. However, it remains a compelling and heartwarming comedy with a broad appeal due to its successful amalgamation of elements of science-fiction, black comedy and touching human drama, all wrapped up in the package of a superhero origin story. This is a film that lives up to its title and deserves to be more widely known in the wake of the multi-million superhero franchises that it preemptively poked fun at so well.

If you take the time to watch Special then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!



For previous instalments in the series click here

Monday 24 August 2020

100 Essential Films That Deserve More Attention - 67. Come and See

People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces and fascinating curios that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

Come and See
Director - Elem Klimov
Country - Soviet Union
Year 1985
Runtime - 142 minutes

Come and See is a landmark of Soviet Cinema, and can perhaps even be considered one of its greatest achievements. Director Elim Klimov has created an ugly and horrific depiction of war as seen through the eyes of an innocent young boy caught up in the Nazi invasion of Belarus during World War Two. This is a graphic and visceral film that doesn't shy away from encompassing the brutal atrocities and war crimes that were committed in the darkest days of the war, and warnings of its disturbing nature deserve to be heeded.

The nightmare begins with Florya Gaishun hunting through the remains of a deserted battlefield to find a rifle so the partisans will allow him to join their cause. Despite his mother's tearful efforts to prevent him from leaving, Florya is clearly excited about the prospect of joining his fellow countrymen in battle when he is stationed at a nearby encampment in the forest. His hopes are dashed when he is abandoned by his unit and left shaken after a procession of bombs falls from the sky. When the bombing ceases he finds he is alone in the ravaged war-torn countryside, and must fend for his life throughout a series of increasingly dangerous encounters with other survivors and hordes of pillaging Nazis. Here there are no heroics, and no opportunities for redemption or glory; this is war as a living hell - an incredibly unsettling journey through a country torn apart with reckless abandon.

Klimov stages his action with a dedication to realism that transports the viewer into the heart of the carnage. Stunningly choreographed long takes add weight to the impact of the relentless onslaught and demonstrate the breathtaking direction of a master cinematographer at work. The impeccable sound editing enhances the sense of hopelessness as ricocheting bullets whip through the undergrowth and violent explosions shake the earth, stunning anyone caught in the blast radius, and leaving them confused and disoriented as we experience first hand the unnatural ringing sensation that subsequently engulfs their hearing.

Florya's haunting transformation in Come and See is a devastating corruption of innocence, with his swift catharsis from childhood to adulthood unveiling before our very eyes. By the end of the film Florya has taken on the appearance of an old man - the impact of the war, and all he has experienced, leaving its indelible impression etched permanently onto his withered face. The astonishing performance by Alexei Kravchenko in this role showcases a dedication to the craft usually reserved for method actors who undergo dramatical physical transformations for a role. The torment and pain that Florya endures must surely have taken its toll on Kravchenko - watching Come and See is a life changing experience - and it is difficult to begin to imagine how draining it must have been to perform in such a demanding role.

Come and See is a gruelling and arduous experience for the viewer. There are few films that match the ferocity and intensity of its harrowing storyline, and those who label it as a horror certainly have a valid reason for doing so. Whilst parts of the film may be uncomfortable to sit through it is worth persevering as this is a vitally important piece of cinema with a powerful message told in an utterly captivating manner. Is this the greatest war film of all time? Without a doubt, yes.

If you take the time to watch Come and See then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!



For previous instalments in the series click here