MAKSQUIBS CINEMATHEQUE: STOPOVER TOKYO (1957)

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Like just about everyone with an interest in the movies, I'm watching more films on DVD and going out to movie houses a lot less. Convenience trumps the better experience.
Of course, you lose audience interaction and the poor film now has to compete with all the comforts of home.
It's a bit like seeing Rembrandts & Titians in a book reproduction, or from posters with iffy color values, no texture or weight to the surface and the wrong dimensions . . . all while snacking on chips & soda. (Oops! You get that at your local cinema,too.)
The ease of instant movie gratification risks turning an art form (well, sometimes) into little more than low-grade eye-candy & mindfodder. So, maybe it's worthwhile to write a bit down on what we're all viewing, just to keep fully engaged.

DVDs: the latest opiate of the people meets the internet, where everyone's a critic.
God help us.

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Sunday, September 21, 2008

STOPOVER TOKYO (1957)

A real dog. Edmund O’Brien runs a phony coal company in Japan as a front for Commie buds who are planning on bombing the dedication ceremony of a Nippon/American peace pavilion. Robert Wagner and Ken Scott are undercover CIA agents who are trying to stop the carnage and get undercover with airline agent Joan Collins . . . if they don’t get steam-sauna’d to death! Will Joan choose the guy who’s taller than she is or the guy who’s prettier than she is? Will that relentlessly cheerful orphan girl change her tune when she is told her father was gunned down? Will the technicians match the studio interiors with the location footage? Novelist John P. Marquand of Mr. Moto fame can’t be held responsible for this hopelessly stiff adaptation of his work which mercifully reps the one & only directing gig of hack writer Richard L. Breen.

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A last thought before we go.

Well, enough from me. But before we sign off, here's a great quote from Emile Zola's L'OEUVRE (THE MASTERPIECE), which is about painting rather than the yet to be invented medium of film, but which points a fine critical eye toward the whole idea of art criticism. It's a good, if chilly, thought to keep in mind, especially when you surf the net.

"Has it ever struck you that posterity may not be the fair, impartial judge we like to think it is?

"Suppose the artist's paradise turned out to be as nonexistent as the Catholics, and future generations prove just as misguided as the present one and persisted in liking pretty pretty dabbling better than honest to goodness painting. There are some accepted masterpieces for which I myself wouldn't give a twopenny damn.

"Classical training has given us a wrong view of everything and forces us to acclaim as geniuses a lot of fellows who are no more than well-balanced, facile painters, while what we might really prefer is the work of more emancipated but less even artists known only to an initiated few. Immortality at present depends entirely on the average, middle-class mind and is reserved only for the names that have been most forcibly impressed upon us while we were still unable to defend ourselves...

"Perhaps that's the sort of thing that's best left unsaid. It's certainly the sort of thing that gives me the shudders!"- Emile Zola

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Now Over 5500 Reviews and (near) Daily Updates!

Sunday, September 21, 2008

STOPOVER TOKYO (1957)

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A last thought before we go.

DROP ME A LINE