Word: amours
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...subject of so many extreme and contradictory signals as Japan, in foreign films and in its own product. The Japanese have been seen as proud warriors and shy bureaucrats, courtesans and devoted daughters, a most cultured people and the most barbaric. Western directors like Alain Resnais (Hiroshima mon amour) and Steven Spielberg (who will achieve a Japanese trilogy if he ever adds the long-deferred Memoirs of a Geisha to 1941 and Empire of the Sun) have joined such local masters as Akira Kurosawa, Yasujiro Ozu and Nagisa Oshima in trying to define the bold, elusive Japanese psyche...
...wasn't always that way. Back in 1930, a Spanish filmmaker living in France debuted his first solo feature, a dreamlike exercise in l'amour fou entitled "L'Age d'or" ("The Golden Age"). The film concludes with the introduction of a man described as "the leader and chief instigator" of a band of "fiends." As the gent steps out of his chateau, we're confronted with Jesus Christ. The bearded one then takes a young woman back into his lair, and screams are heard from behind the door. Cut to: a crucifix covered in women's scalps...
...Power, the actor-director has dramatized the perils and grace of something we all do (if we're lucky): age. His breath is short, his trigger finger is arthritic, and the young women in his life are more likely to be his daughters or his bosses than a hot amour. Yet even at 70, he's still Clint, which means he's about the best any of us can hope to be in our reclining years...
...chic, assured film that Raul Ruiz has made of the novel's final volume, Le temps retrouve (Time Regained), is an ideal Proust in pictures. It roams through prewar drawing rooms, attending to whispers of malice and amour. A brilliant man (Marcello Mazzarella, as Marcel) talks to a ravishing woman (Emmanuelle Beart, as Gilberte) of an old wound. "Heartbreak can kill," he says, "but leaves no trace." The roue Charlus (John Malkovich) takes his sexual pleasures at the business end of a whip. These characters are often crushed by the burden of glamour, but the film isn't. It wears...
...amour, c'est la vie, c'est la guerre, c'est la cinema de Cannes...