it Ends With us

REBELLION! The political and cultural tumult of the early 1960s shook Japan as it did the rest of the world. Japanese filmmakers responded to the changing times by disguising themes of dissent in the traditional form of the swordplay film, or chanbara. Previously populated by heroic samurai, self-sacrificing ronin, and historical figures who exemplified noble Japanese virtues, the genre began embracing a new kind of hero, or antihero: the lone outcast, distrustful of authority but maintaining a personal code of honor. These four classic films, from four masters of Japanese cinema, turn a genre upside down, redefining for a modern generation the meaning of loyalty and honor, as embodied by the iconic figure of the samurai.

Simone Signoret, Anton Walbrook, and Simone Simon lead a roundelay of French stars in Max Ophuls’s delightful, acerbic adaptation of Arthur Schnitzler’s controversial turn-of-the-century play Reigen. Soldiers, chambermaids, poets, prostitutes, aristocrats—all are on equal footing in this multicharacter merry-go-round of love and infidelity, directed with a sweeping gaiety as knowingly frivolous as it is enchanting, and shot with Ophuls’s trademark mellifluous cinematography.

After gangster Mulligan's cars colony, fleeing northern justice, finds a hiding place in Alabama, spoiled, naive daughter Grace refuses to travel on after seeing the Manderlay cotton plantation being run under slavery rules, called Mam's law, inclusive flogging. She keeps half of dad's goons as guard to force the dying matriarch-owner's heirs, which she shamelessly dispossesses and reduces to 'staff', to taste destitution under absurd, gun-imposed contracts. The 'slaves' are made free partners, supposed to vote for progress after lessons from Grace. But almost all her democracy-pupils prove fickle, dumb and selfish, except old Willem. Her and their ignorance in Southern planting and crafty Dixie ways means more problems are created then solved. By the time dad returns to pick her up or abandon her for good, she's the one who has learned and changed the most.

The Japanese author Yukio Mishima seems to have thought of his life as a work of art, and more than anyone since Ernest Hemingway he got other people to think of it that way, too. He was a brilliant self-promoter who not only wrote important novels and plays, but also cultivated the press, posed for beefcake photographs and founded his own private army. He was an advocate of a return to medieval Japanese values, considered himself a samurai, and died on schedule and according to his own plan: After occupying an army garrison with some of his soldiers, he disembowled himself while being beheaded by a follower.

The Nazis are clearly the villains in So Ends Our Night, but since the film was made before America's entry into World War II, Adolph Hitler goes unmentioned (we wouldn't want to lose those foreign markets, would we?) Based on Erich Maria Remarque's novel Flotsam, the film zeroes in on three German refugees.

Jean-Pierre Gorin, widely known for his collaborations with Jean-Luc Godard in the Dziga Vertov Group (including Tout va bien), established his personal voice with this trio of fascinating, nontraditional documentaries. Made in Southern California after the filmmaker relocated there in the midseventies, Poto and Cabengo, Routine Pleasures, and My Crasy Life illuminate hidden corners of our culture. With these films, Gorin revealed himself as a major chronicler of American life at its most hauntingly enigmatic.

The comic genius of silent star Harold Lloyd is eternal. Chaplin is the sweet innocent, Keaton the stoic outsider, but Lloyd—the modern guy striving for success—is us. And with its torrent of perfectly executed gags and astonishing stunts, Safety Last! is the perfect introduction to him. Lloyd plays a small-town bumpkin trying to make it in the big city, who finds employment as a lowly department-store clerk. He comes up with a wild publicity stunt to draw attention to the store, resulting in an incredible feat of derring-do on his part that gets him started on the climb to success. Laugh-out-loud funny and jaw-dropping in equal measure, Safety Last! is a movie experience par excellence, anchored by a genuine legend.

Earl Partridge, age et malade, va bientot mourir. Il demande a son fidele infirmier de retrouver le fils qu'il a jadis abandonne. Sa jeune epouse, qui convoitait sa fortune, devrait se rejouir mais n'y parvient pas. Frank Mackey, jeune gourou cathodique de la seduction masculine, s'est construit un passe et une vie. Mais combien de temps le masque peut-il resister? Toutes ces vies s'entrecroisent le temps d'une journee comme les autres sous le soleil de la Californie.

24 hours in L.A.; it's raining cats and dogs. Two parallel and intercut stories dramatize men about to die: both are estranged from a grown child, both want to make contact, and neither child wants anything to do with dad. Earl Partridge's son is a charismatic misogynist; Jimmy Gator's daughter is a cokehead and waif. A mild and caring nurse intercedes for Earl, reaching the son; a prayerful and upright beat cop meets the daughter, is attracted to her, and leads her toward a new calm. Meanwhile, guilt consumes Earl's young wife, while two whiz kids, one grown and a loser and the other young and pressured, face their situations. The weather, too, is quirky.