Word: okada
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Dates: during 1960-1969
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...Kenzo Okada has-at the age of 60-a secret, invisible, inexhaustible and almost magic source of images for his painting: memories of his dreams when he was young. He seems to have forgotten most of his wakeful activities-instead he recalls that in Tokyo his life "was lonely and full of dreams," and during his student days in Paris, "I fell in love with a different girl every day, and mostly I dreamed." Last week a collection of Okada's dreams was on display at M.I.T.'s Hayden Library in Cambridge, Mass. In style and approach, Okada...
Before he came to the U.S. in 1950, Okada derived his forms from landscapes and figures: "I worked with the object." But for a man who ultimately decided that he wanted to paint the interior of his own mind, the object merely inhibited the necessary flight of fancy. And so Okada turned to abstraction, which he calls "the Western way" but his Western way still keeps the flavor of Japan...
Behind her, sometimes as far as one reel back, a man (Marcello Mastroianni? Alain Delon? Eiji Okada?) appears. He is doing The Walk. His hands are sometimes in his pockets; sometimes one hand is in one pocket (curiously, two hands are never in one pocket, nor is one hand ever in two pockets). He may or may not be following the woman-it is almost impossible to tell because he, like she, seems in no hurry. The director (Michelangelo Antonioni? Alain Resnais? Federico Fellini? Francois Truffaut?) is definitely in no hurry. The movie (La Notte? L'Av-ventura...
...Kenzo Okada...
...psychological nuances of the plot are even more important than the actual order of episodes. As in other New Wave films, motives are never clear; the power of individual scenes always suggests uniting logic without really convincing the viewer that the logic even exists. Emmanuelle Riva and Eija Okada act with such persuasive emotion that the film is unified by their mere presence...