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June
29/03 More
in weblog archive |
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Slap
Happy
This
video clip shows some new Japanese arcade game where
you basically slap the hell out of the console buttons
to classical music. Looks like at least your arms will
get a workout. |
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June
28/03 More
in weblog archive |
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Lego
characters
It's really beautiful and hot outside but I am indoors?
Why, because I am drawing Lego characters to fill in a
missing 18 seconds of the Fidgital video. It turned out
after I retimed it to the music for the third time that
I had 18 seconds to fill (I had to cut out some stuff
to make it fit). Here's me,
for example. |
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June
27/03 More
in weblog archive |
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SLEEPLESS
TOWN (1998)
IMDB
dir.
Cheng Ngai Li starring:
Takeshi Kaneshiro,
Mirai Yamamoto
Cheng
Ngai Li's film set in the Chinese underworld
community in Shinjuku is a tightly directed neo-noir
featuring Takeshi Kaneshiro as a half-Taiwanese
half-Japanese freelancer who is being pressed on all
sides by factions who want to see him take sides. Playing
a character similar to Tom Regan in Miller's Crossing,
Takeshi Kaneshiro is a small-timer known to everyone,
who is trying to rebuild his credit after his former
partner skipped town but not before shooting a
prominent gangster. When it is learned that
his partner has returned under mysterious circumstances,
he is given an order to find and kill him. His
search is further complicated when he is contacted by
a woman claiming to be his partner's girlfriend (the
gorgeous Mirai Yamamoto). In good noir fashion, this
complication becomes a source of sexual tension as he
agrees to use her as bait.
Considering
it is essentially a work for hire by director Cheng
Ngai Li, Sleepless Town is a totally
classy film filled with beautiful dreamy shots, wonderful
personal scenes and a really steamy connection between
the two co-stars. The neo noir formula has never worked
quite so well as in the neon lit alleys, restaurants
and rooftops of Shinjuku, even as the stereotypical
Yakuza elbow their way through crowds or the pony-tailed
Takeshi Kaneshiro pays his respects in crowded backroom
mob hangouts.
Centered amongst
the playful conventions of hammy, posturing criminals
is the grinning but entrancing romance between Takeshi
Kaneshiro and Mirai Yamamoto. Her nymph-like but cunning
byplay slowly pulling together a more complex scheme
draws in the gruff freelancer who is aware that he is
being fooled. He falls in love with her because
we can't but fall in love with her. The final act becomes
a bit of a test for the viewer who has to sort out a
jumble of characters and factions but the resolving
scene, on a wharf with just the two co-stars embracing one
last time under the eyes of the gangsters is
a memorable, rich resolution.
The
DVD from Poker Industries is non-anamorphic and the
image quality is so-so. The extras include a handy chart
showing the connections between the main characters
and factions in the Chinese underworld. You may need
it to make sense of the 'sorting out' of characters
in the final act.
Ten
Appalling Lies We were Told about Iraq
This
is a good sum up of ten so far unproven claims trumpeted
by the Bush administration before and during the Iraqi
war to drum up support. From
Alternet >> |
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June
24/03 More
in weblog archive |
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How
two students built an A-bomb
This is a good story in the Guardian about how two physics
post-docs in the 60s who knew nothing about constructing
an atomic bomb were assigned a secret project by the U.S.
to find out how easy it would be for intelligent amateurs
to construct one based upon publicly available information.
How easy, you ask? Well you'll have to read
it here >> |
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June
23/03 More
in weblog archive |
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On
seeing The Hulk
Saturday I saw the latest comic book movie, Ang Lee's
The Hulk. It was easily one of the most tepid comic
adaptations I've seen. For a concept that was based upon
one of the more simple
| One
of the most tepid comic adaptations I've seen. |
and
destructive Marvel characters, The Hulk movie was
actually boring in parts. The dialogue for the character
was very poor as did the delivery of the actors. When
the actual Hulk character was on the screen destroying
sets, it was fine. The one scene that really projected
the joy of the Hulk's destructive nature - the desert
chase with the military vs the Hulk - was bookended with
too many scenes hammering the psychological conflict into
the audience. Underwhelming. A disappointment considering
the great love I bear for Ang Lee's Crouching Tiger,
Hidden Dragon. On the other hand, I was genuinely
interested in his decision to use visual montage in the
complicated shots. I found it at first bewildering, but
later got into the flow of the moving panels. |
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June
21/03 More
in weblog archive |
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I've
been 'imitated'
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| Shameless. |
Yesterday I was disturbed and amazed by the discovery
that another company was blatantly riffing my employers'
brand Clipstream. Do a comparison. Look at Clipstream.com
and then look at this
page for the product "Snipstream".
Not only is the technology similar, but their logo is
obviously quite similar to my Clipstream logo. Obviously,
this will not do. In the software industry having your
technology examined by competitors is a fact of life,
however, to do so in such a shameless manner, keeping
basically the same logo but twisted 90 degrees and having
almost the same brand name is amazing. |
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June
16/03 More
in weblog archive |
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Toshiro
Mifune doll - casting for Lady X
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| Lone
Wolf doll. Check out Cub too. |
Dylan and I are finalizing the Lady-X script and we have
a good idea who we want for parts in the short. There
are four major parts and they all require some martial
arts. You can see what we want here on
our Lady-X page. As I was looking for references I
came across this odd Toshiro Mifune doll from I don't
know where or when. Lots
of cool samurai dolls here >> |
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June
16/03 More
in weblog archive |
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HARAKIRI
(1962)
IMDB
dir.
Masaki Kobayashi starring:
Tatsuya
Nakadai
A
film by the director of Kwaidan, Masaki
Kobayashi. This 1962 film is a real find. A samurai
film on par with any of the classic parables by
Kurosawa. At the beginning of the film an ageing
samurai named Tsugumo Hanshiro who has had
his clan abolished by the Shogunate appears at
the gates of the prosperous Iyi clan with
a request that he be allowed to commit harakiri
at the attendance of the Iyi men. Explaining that
he has found living in poverty intolerable,
he asks the lord for use of the Iyi compound for
the ritual ceremony.
The
lord of the Iyi attempts to dissuade him by telling
the tale of a previous samurai, who, many years
before, came to the estate with the very same
request. It seems that it has become a practice
for many wandering samurai to extort money from
well off clans by threatening suicide. However,
in the case of the previous samurai, the Iyi clan
decided to make a lesson of him by forcing him
to carry through on his threat. After hearing
the excruciating story of the first samurai, Tsugumo
Hanshiro responds with a tale of his own. So begins
a deeply absorbing story of how fragile the samurai
system of values really is when faced with true
circumstances and the hypocrisy of human nature.
There
is much to recommend about this film. Masaki Kobayashi's
direction is masterful. Sweeping camera movements,
slow dollies, emotional composition fill what
is essentially a static set up (men sitting, telling
each other stories) with motion. The
ability of Kobayashi to establish a physical setting
as a stage for moral theatre deserves to be studied.
The initial building up of shots of the empty
clan castle. The focus on the Iyi ancestral armour
- another empty shell of the clan's so-called
honour is another important concept.A duel near
the end of the film is filmed on a windy
plain (also featured in Kurosawa's Sanshiro
Sugata), each opponent contrasted against
mountains and storm clouds. That scene is
a wonder of composition.
In
the central role of Tsugumo Hanshiro, Tatsuya
Nakadai in a much younger role than his Lord Hidetora
from Ran has three good performances
in one, a proud feudal retainer, then
a desperate former samurai stricken by circumstances
but still hamstrung by his pride, and a vengeful
storyteller come to lay the samurai code bare
to its hypocrisies. His driven expressions
stress the extent of his character's emotions. As
he takes on all the retainers of clan Iyi at once
in the final scene, his face is a torment.
The
second act is a bit slow, to be sure, as the story
that Tsugumo Hanshiro tells is not as much of
a revelation as it is meant to be. So your mind
is racing ahead to the final act. For all the
wonder of the composition of the duel on the windy
plains, the actual fighting is flaccid (though
redeemed by the battle in the Iyi clan castle
at the end). Some may not stick around after cringing
through the suicide of the first warrior which
occurs under excruciating circumstances and graphically
shown.
The
DVD by Panorama Industries (HK) suffers from a
poor print and is not anamorphic. The subtitles
have grammar problems but aren't totally laughable.
From Poker
Industries.
Previous
blog here >>
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