February 11, 1991, Monday
SECTION: Features
LENGTH: 662 words
BYLINE: Geoff Brown
B-movies before blickbusters
Nine am. Rotterdam is cold and grey. At the Lumiere cinema,
a nubile young Japanese
lady golfer swipes her ball and faints in the glory of CinemaScope
and colour. Seijun
Suzuki's sublimely foolish Tale of Sorrow and Sadness has got underway.
The golfing
sprite becomes a media star, succumbs to blackmail from an outraged
fan, and dies, along
with most other characters, at the hands of her kid brother. Slack-jawed
with awe, I
remain in my seat, calculating that if Suzuki is perverse enough to
make such a film, then
I am perverse enough to watch it.
7.30pm. Rotterdam is cold and dark. At the Luxor cinema, the pinched
face of a
bewildered Russian fills the screen for what seems an age. He is visiting
Siberia to bury
his father. Slowly the camera probes the flat's dingy rooms: bare boards
and dejected
furniture, the debris of a miserable life. In a mesmerising scene,
the lady undertaker spells
out the hard economic facts about getting a body buried; the poor boy
sees his small stock
of kopecks whittled away to nothing. After scene upon scene of shadow
and gloom,
colour finally enters with a brick-red coffin.
The audience is watching the Western premiere of The Second Circle,
latest feature by
the prolific and wayward Aleksandr Sokoevrov, one of the Soviet art
cinema's rising
stars. It would never pull a full house at the Odeon in Omsk, but I
remain in my seat:
uneven and downbeat, the film still casts an extraordinary spell.
This is a festival for those in love with cinema's outer limits: the
safe parade of familiar
directors and Hollywood big-guns is not Rotterdam's way. The impassioned
simplicity of
Sokoevrov's filmin stark contrast to earlier features such as Heartbreak
Houseduly
received its reward: the Fipresci jury of international critics voted
The Second Circle the
festival's best film.
The Cinema of the Ridiculous kept its end up through sheer numbers:
20 other Suzukis
were on show, in a retrospective salute to ''Japanese Kings of the
Bs''. Suzuki, born in
1923, forged his unusual career by thumbing his nose at all the rules.
Sets are heavily
stylised, lit with primary colours that suddenly change; if a plotline
lingers over a year,
the seasons unfold out of order. In Story of a Prostitute and Tokyo
Drifter, the violence is
swift, brutal, cartoon-sharp, while the narrative habits of Japanese
gangster movies are
pilloried with glee, though not much wit.
Suzuki provided a happy feast for lovers of the outre, though for cinematic
skill he
shrivelled alongside Yuzo Kawashima
another so-called ''King of the Bs''. For Kawashima, however, the label
hardly fits: how
could A Geisha's Diary, a subtle account of a geisha girl struggling
towards
independence, resplendently acted and shot, or the bustling, neo-realist
Red Light
District, ever be lumped with potboilers?
Kawashima, who died aged 45 in 1963, was blessed with a marvellous eye
for
composition. His CinemaScope frames dance with life and elegant design.
Suzuki, for all
his charms, simply chucks actors and props onto the screen and hopes
for the best.
Elsewhere in the festival, Nicholas Ray, maverick director of Rebel
Without a Cause, was
saluted alongside other Hollywood renegades. A new print of Paramount's
1927 Changan
astonishing jungle drama shot in Thailand by the King Kong team of
Ernest Schoedsack
and Merian Cooper, was a valuable revival, revealing anew some of cinema's
most
audacious wildlife photography.
The chief business of film festivals, though, is looking to the future:
uncovering new
talent, showcasing films that travel on to other festivals and public
screenings. Maybe
Kracht will make some headway: this striking directorial debut by the
Dutch playwright
Frouke Fokkema delighted with its wry, comic tale of a widowed farmer's
fateful affair
with a woman painter from the big city. The title translates as Strength;
Fokkema shows a
muscular gift for encapsulating the ingrown rural scene in laconic
images and words.