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dweemeister · 3 years

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2020 Movie Odyssey Awards

Because the 2020 Movie Odyssey Award for Best Original Song final was extended, the 2020 Movie Odyssey Awards themselves are late once more - and all because of me this time out (oops). As you may know, this is the annual awards ceremony to recognize a year of films that I saw for the first time in their entirety in the calendar year. All films featured - with the exception of those in the Worst Picture category - are worth seeing.

The full list of every single film I saw as part of the 2020 Movie Odyssey can be seen in this link.

Best Pictures (I name ten winners, none of which are distinguished above the other nine)

The African Queen (1951)

The Haunting (1963)

The Irishman (2019)

A Letter to Three Wives (1949)

Mädchen in Uniform (1931, Germany)

Once Upon a Time in America (1984)

Ordet (1955, Denmark)

Parasite (2019, South Korea)

The Shop on Main Street (1965, Czechoslovakia)

The Trial (1962)

Seven of these films received 10/10 ratings. The others received 9.5/10 ratings. This Best Picture lineup were the ten best films I saw in all of 2020. The African Queen is a rollicking adventure film with Humphrey Bogart and Katharine Hepburn that took me by surprise (I was long put off from the film because of its reputation). It displays some of the most charming moments that only Golden Age Hollywood can offer. Golden Age Hollywood horror may not be scary to viewers; but what it lacks in elicited screams, it makes up in goosebumps. The Haunting is one of the great haunted house movies of all time with its thick atmosphere, fantastic production design, and spectral ambiguity. Watch it in the dark, if you dare.

Two gangster epics with a mournful disposition are also here in Martin Scorsese’s The Irishman and Sergio Leone’s Once Upon a Time in America. The former sees Robert De Niro seeking absolution despite personally not being fully regretful; the latter sees a regretful Robert De Niro seeking not absolution, but peace.

Made in Weimar Germany in the years just before the Nazi takeover is a classic of queer cinema, Mädchen in Uniform. Beyond its LGBTQ themes, it is a tale of young women finding friendship amongst each other. On the other side of Europe after its Nazi takeover is The Shop on Main Street - which switches gears between drama to lighthearted comedy to tragedy so nimbly. Another film exemplifying mastery in tonal shifts was the headline-grabber Parasite - an explosive, justly historic movie.

Joseph L. Mankiewicz’s A Letter to Three Wives is a suburban feminist ensemble piece, reflecting on the martial anxieties of women questioning their spousal bliss. The ending there, though not quite storybook, is poignant. Questions of faith, too, are asked in Carl Theodor Dreyer’s Ordet - not in others, but in God. The film, one of the greatest films ever made about religious faith, ends impossibly, provocatively.

Best Comedy

The Battle of the Century (1927 short)

Best in Show (2000)

Elmer, the Great (1933)

It Happened on Fifth Avenue (1947)

Klaus (2019)

One Hour with You (1932)

The Princess and the Pirate (1944)

Road to Utopia (1945)

Soul (2020)

Three Little Girls in Blue (1946)

Now I typically give this category to the film that elicits the most belly laughs from me. None of these comedies did that for me this year. So I went with Ernst Lubitsch’s One Hour with You - starring Lubitsch regular Maurice Chevalier and Jeanette MacDonald. It is what some folks might call a sophisticated comedy. But if you read between the lines, this pre-Code romantic comedy was probably one of the raunchiest things I saw all year.

For example:

POLICE OFFICER: Come on, come on. Where do you think you are? What are you doing? What’s going on here? ANDRE BERTIER: The French Revolution! [resumes kissing Colette] POLICE OFFICER: Hey, you can’t make love in public. ANDRE BERTIER: I can make love anywhere! POLICE OFFICER: No, you can’t! COLETTE BERTIER: Oh, but officer, he can! ANDRE BERTIER (joyously): Darling!

Otherwise, runners-up included It Happened on Fifth Avenue and Best in Show.

Best Musical

Blue Hawaii (1961)

Flower Drum Song (1961)

Hamilton (2020)

The Magic Flute (1975, Sweden)

My Dream Is Yours (1949)

New Orleans (1947)

New York, New York (1977)

One Hour with You

The Shocking Miss Pilgrim (1947)

Three Little Girls in Blue (1946)

You know, if Hamilton was an original musical and not a filmed version of the original Broadway run, it would certainly threaten in this category. Instead, it rounds things out. Martin Scorsese’s New York, New York - as a deconstruction of the mid-century MGM musical - wins out not only its strong soundtrack, but glossy aesthetic that one would not associate with Scorsese. Runners-up are Flower Drum Song (the last movie with at least a majority Asian-American cast until The Joy Luck Club thirty years later and Crazy Rich Asians after that) and Bergman’s adaptation of Mozart’s opera The Magic Flute.

Best Animated Feature

I Lost My Body (2019, France)

Klaus (2019)

The Last Unicorn (1982)

Mad Monster Party? (1967)

Marona’s Fantastic Tale (2019, France)

Melody Time (1948)

Saludos Amigos (1942)

Soul

Weathering with You (2019, Japan)

Wolfwalkers (2020)

Perhaps the least known animated feature of these nominees takes the prize. Anca Damian’s Marona’s Fantastic Tale is gorgeously animated, attempting to tell its story through the point of view of its small canine protagonist. The film appears as a dog might understand the confusing mess that is humanity. Close behind is Cartoon Saloon’s Wolfwalkers and Pixar’s Soul.

Best Documentary

Crisis: Behind a Presidential Commitment (1963)

Diego Maradona (2019, United Kingdom)

Elvis: That’s the Way It Is (1970)

The Eyes of Orson Welles (2018)

The Great Buster: A Celebration (2018)

I Am Not Your Negro (2016)

I Am Somebody (1970 short)

The River (1938 short)

The T.A.M.I. Show (1964)

Tokyo Olympiad (1965, Japan)

This was the best year for documentaries in a year’s Movie Odyssey for a long, long while. As a part of the tradition of Olympic films, Kon Ichikawa’s Tokyo Olympiad is a chronicle of the 1964 Summer Olympics in Tokyo. The film resembled nothing like the Olympic documentaries before it - choosing not to concentrate on just gold medalists and reportage, but a story of Japan’s reintroduction to the Western world and the pains of the many also-rans in any Olympics. I also considered Crisis: Behind a Presidential Commitment (a JFK/RFK real-time documentary on the racial integration of the University of Alabama system), Elvis: That’s the Way It Is, The River (a New Deal-funded documentary short about the importance of the Mississippi River - narrated in free verse!), and The T.A.M.I. Show as potential winners, but nothing could eclipse Ichikawa’s monumental effort.

Best Non-English Language Film

The Cave of the Yellow Dog (2005), Mongolia

Emitaï (1971), Senegal

Kaagaz Ke Phool (1959), India

Olivia (1951), France

Ordet, Denmark

Parasite, South Korea

Persona, Sweden

The Shop on Main Street, Czechoslovakia

Sleepwalking Land (2008), Mozambique

Tokyo Olympiad, Japan

My god, this is always a stacked category. So why do I even bother? Because non-English language films - though they shouldn’t be ghettoized and considered a specialty - are nevertheless ghettoized and considered a specialty in America. This sort of category also gives some attention to a few films that don’t make much of an impression in other categories (namely the wondrous Sleepwalking Land and stunning The Cave of the Yellow Dog). But it is Ordet the reigns supreme here, edging out The Shop on Main Street, Parasite, and Kaagaz Ke Phool for this prize.

Best Silent Film

The Battle of the Century

Body and Soul (1925)

Bumping into Broadway (1919 short)

The Dragon Painter (1919)

I Do (1921 short)

Next Aisle Over (1919 short)

Ramona (1928)

The Scar of Shame (1927)

Shoes (1916)

Young Mr. Jazz (1919 short)

Lois Weber was as instrumental to shaping early American cinema as D.W. Griffith or Cecil B. DeMille. And in Shoes, she brings her sense of social righteousness and cinematic innovation to the fore. It is one of her best feature films, and its release came at the height of America’s Progressive Era - a time of greater awareness of industrialization and unregulated capitalism’s ill effects. Distant runners-up are new National Film Registry inductee The Battle of the Century (a Laurel and Hardy film with one of the best pie fights you will see) and Body and Soul (Paul Robeson’s theatrical debut).

Personal Favorite Film

The African Queen

The Cave of the Yellow Dog

The Haunting

A Letter to Three Wives

Marona’s Fantastic Tale

McFarland, USA (2015)

Murder Most Foul (1964)

Stars in My Crown (1950)

Three Little Girls in Blue

The Trial

An understated but nevertheless eloquent screenplay, light humor, and careful attention to all three of its lead actresses roles define A Letter to Three Wives. It is one of the best exercises of empathy I saw all year, amid its tremulous and anxious narrative backdrop. We like to deride post-WWII American film as depicting an idyllic suburbia that never existed... but not here. Byambasuren Davaa’s The Cave of the Yellow Dog captured my heart, too. The film, from Mongolia, was one of the gentlest movies I’ve had the pleasure to see in the longest time. McFarland, USA revived memories in me of high school cross country days; Murder Most Foul was a Ms. Marple whodunit that cements Margaret Rutherford as one of my favorite actresses; the homespun Stars in My Crown is Americana at its finest.

Best Director

Ingmar Bergman, Persona (1961, Sweden)

Carl Theodor Dreyer, Ordet

Guru Dutt, Kaagaz Ke Phool

John Huston, The African Queen

Kon Ichikawa, Tokyo Oympiad

Sergio Leone, Once Upon a Time in America

Joseph L. Mankiewicz, A Letter to Three Wives

Leontine Sagan, Mädchen in Uniform

Ousmane Sembène, Emitaï

Orson Welles, The Trial

Dreyer is in command of the film’s mise en scene from the beginning - culminating in breathtaking scene set-ups for conversations spoken in hushed tones. The style is never oppressive, never showy, and just right for a deeply introspective movie of tried and troubled faith.

Best Acting Ensemble

Edge of the City (1957)

Gosford Park (2001)

The Irishman

A Letter to Three Wives

Little Women (2019)

Marriage Story (2019)

Once Upon a Time in America

Ordet

Parasite

Stars in My Crown

Subtract any one actor from Parasite and the film cannot work as well as it does. Perhaps Song Kang-ho has the best performance in the movie, but that isn’t possible without his fellow cast members putting out the incredible turns that they offer. Ordet is a close second. Behind by a country mile are Gosford Park, A Letter to Three WIves, and Little Women.

Best Actor

Humphrey Bogart, The African Queen

Maurice Chevalier, One Hour with You

Guru Dutt, Kaagaz Ke Phool

Jozef Kroner, The Shop on Main Street

Alan Ladd, This Gun for Hire (1942)

Joel McCrea, Stars in My Crown

Paul Robeson, Body and Soul

Howard Vernon, Le Silence de la mer (1949, France)

Jon Voight, Deliverance (1972)

Denzel Washington, Malcolm X (1992)

Arguably Denzel’s finest. He inhabits Malcolm X - the bravura, the attitude, the pastor-like (and occasionally incendiary) rhetorical devices, the early rage, the standoffishness. It is a magnificent performance. Just behind is Bogart and the irresistible Chevalier.

Best Actress

Bibi Andersson, Persona

Edwige Feuillère, Olivia

Helen Hayes, The Sin of Madelon Claudet (1931)

Katharine Hepburn, The African Queen

Scarlett Johansson, Marriage Story

Ida Kamińska, The Shop on Main Street

Liza Minnelli, New York, New York

Lucia Lynn Moses, The Scar of Shame

Madhabi Mukherjee, The Big City (1963, India)

Waheeda Rehman, Kaagaz Ke Phool

As Ms. Lautmannová, Kamińska - in the autumn of her career - gives us a portrait of devout religiosity, elderly naivete, and otherworldly trust. She and co-star Jozef Kroner play off the other’s performance, one benefitting from the other. It is a delicate, heartbreaking performance. Some ways away are our two Indian actresses, Madhabi Mukherjee and Waheeda Rehman, as well as Bibi Andersson in the dizzying Persona.

Best Supporting Actor

Stephen Boyd, The Man Who Never Was (1956)

Haren Chatterjee, The Big City

James Edwards, The Steel Helmet (1951)

Moses Gunn, Aaron Loves Angela (1975)

Victor McLaglen, The Princess and the Pirate (1944)

Victor Moore, It Happened on Fifth Avenue

Sidney Poitier, Edge of the City

Song Kang-ho, Parasite

Richard Widmark, Kiss of Death (1947)

James Woods, Once Upon a Time in America

For the sixth straight year, Best Supporting Actor - a category almost always filled to the brim with villains - goes to an actor playing a menacing villain. That smirk, that creepy laugh. Holy crap. Widmark knocks it out of the park as the psychopathic Tommy Udo in his debut role. The role, taken by some the wrong way, inspired Tommy Udo frats in American colleges and universities (their central premise: male chauvinism and anti-feminist beliefs). Who else did I consider for a win here? Victor Moore, Sidney Poitier, Song Kang-ho, and James Woods (before he became a twitter conspiracy theorist).

Best Supporting Actress

Tsuru Aoki, The Dragon Painter

Ethel Barrymore, Pinky (1949)

Ruby Dee, Edge of the City

Laura Dern, Marriage Story

Nancy Kwan, Flower Drum Song

Maggie Smith, Gosford Park

Genevieve Tobin, One Hour with You

Emilia Unda, Mädchen in Uniform

Ethel Waters, Pinky

Dorothea Wieck, Mädchen in Uniform

Emilia Unda beats out fellow co-star Dorothea Wieck as the headmistress of the boarding school featured in Mädchen in Uniform. As the strict, uptight disciplinarian, one can see hints behind the facade she displays in front of the girls at the school. Nevertheless, yet another antagonist takes home this award. Also contending are Nancy Kwan and Ethel Waters.

Best Adapted Screenplay

John Huston, James Agee, Peter Viertel, and John Collier, The African Queen

Ladislav Grosman, Ján Kadár, and Elmar Klos, The Shop on Main Street

Steven Zaillian, The Irishman

Joseph L. Mankiewicz and Vera Caspary, A Letter to Three Wives

Christa Winsloe and Friedrich Dammann, Mädchen in Uniform

Leonardo Benvenuti, Piero De Bernardi, Enrico Medioli, Franco Arcalli, Franco Ferrini, and Sergio Leone, Once Upon a Time in America

Samson Raphaelson, One Hour with You

Carl Theodor Dreyer, Ordet

Teresa Prata, Sleepwalking Land

Orson Welles, The Trial

And unlike the mistake the Academy made in just giving the Oscar to Mankiewicz back in the day, the award also goes to his co-screenwriter, Vera Caspary.

Best Original Screenplay

Juan Antonio Bardem, Death of a Cyclist (1955, Spain)

Ousmane Sembène, Emitaï

Julian Fellowes, Gosford Park

Jérémy Clapin and Guillaume Laurant, I Lost My Body

Everett Freeman, Vick Knight, and Ben Markson, It Happened on Fifth Avenue

Bong Joon-ho and Han Jin-won, Parasite

Ingmar Bergman, Persona

Melvin Frank and Norman Panama, Road to Utopia

David Starkman, The Scar of Shame

Delphine Girard, A Sister (2018 short, Belgium)

This is Sembène’s first Movie Odyssey Award, and I think he was probably one of the most overdue. As one of the fathers of African cinema, Sembène’s movies are colored by politics, specifically anti-colonialism, racism, tribal relations, and the destruction of traditional Senegalese life. His biting work to Emitaï is an excoriating piece, and essential to anyone seriously wanting to learn more about movies. No real challengers, in my mind, but the next ones up would have been Bergman and Bong Joon-ho and Han Jin-won.

Best Cinematography

David Schoenauer, The Cave of the Yellow Dog

Michel Remaudeau, Emitaï

Davis Boulton, The Haunting

Rodrigo Prieto, The Irishman

V.K. Murthy, Kaagaz Ke Phool

Norbert Brodine, Kiss of Death

László Kovács, New York, New York

Tonino Delli Colli, Once Upon a Time in America

Kazuo Miyagawa, Shigeo Murata, Shigeichi Nagano, Kenji Nakamura, and Tadashi Tanaka, Tokyo Olympiad

Edmond Richard, The Trial

The Trial unfolds and is shot as if it was a nightmare, albeit a nightmare without any dreamlike elements. With Dutch angles and unconventional use of focus, it is a remarkable film to look at. Having the soon-to-be Orsay Museum as an interior certainly helps. The Cave of the Yellow Dog, The Haunting, Kaagaz Ke Phool, Once Upon a Time in America, and even Tokyo Olympiad would have been worthy winners too.

Best Film Editing

Don Deacon, Born Free (1966)

De Nosworthy and Nicholas T. Proferes, Crisis: Behind a Presidential Commitment

Tom Priestly, Deliverance

Ernest Waller, The Haunting

Barry Alexander Brown, Malcolm X

Nino Baragli, Once Upon a Time in America

Yang Jin-mo, Parasite

Ulla Ryghe, Persona

Tatsuji Nakashizu, Tokyo Olympiad

Yvonne Martin and Frederic Muller, The Trial

Best Adaptation or Musical Score

S.D. Burman, Kaagaz Ke Phool

José Feliciano and Janna Merlyn Feliciano, Aaron Loves Angela

Nat W. Finston, Woody Herman, Louis Alter, and Edgar De Lange, New Orleans

W. Franke Harling, Oscar Straus, Rudolph G. Kopp, and John Leipold, One Hour with You

Maury Laws and Jules Bass, Mad Monster Party?

Joseph J. Lilley, Don Robertson, Hal Blair, George David Weiss, Hugo Peretti, Luigi Creatore, Sid Tepper, and Roy C. Bennett, Blue Hawaii

Alfred Newman, Flower Drum Song

Edward H. Plumb, Paul J. Smith, and Charles Wolcott, Saludos Amigos

David Raksin, George Gershwin, and Ira Gershwin, The Shocking Miss Pilgrim

Harry Warren, Ralph Blane, and Howard Jackson, My Dream Is Yours

Oh geez what a line-up. But this category favors original musicals above all. And though some might hesitate to call it a musical, Kaagaz Ke Phool’s soundtrack - in its melding of dramatics and music - is as cinematic as they come. As opposed to the let’s-just-put-a-song-here-to-kill-free time attitude of some of these musicals, Kaagaz Ke Phool uses its songs purposefully. In other words, with feeling. Alfred Newman’s adaptation of Flower Drum Song was probably up next.

Best Original Score

John Barry, Born Free

Elmer Bernstein, The Comancheros (1961)

Akira Ifukube, Destroy All Monsters (1968, Japan)

Zdeněk Liška, The Shop on Main Street

Toshiro Mayuzumi, Tokyo Olympiad

Ennio Morricone, Once Upon a Time in America

Alfred Newman, The Greatest Story Ever Told (1965)

Leonard Rosenman, Edge of the City

Virgil Thomson, The River

John Williams, Empire of the Sun (1987)

This is not a sympathy prize for the recently-departed Italian composer. The key cue is the second one featured, "Deborah's Theme" and, when you listen to it, I think it tells you all you need to know about this movie. It's deeply expressive. And in the movie, it's allowed to be prominent. I've seen people say the late Morricone considered this his best score, but I can't find any official word of that anywhere. It is tremendous work, with Bernstein, Newman, and Thomson just behind.

Best Original Song

“Angela”, music and lyrics by José Feliciano and Janna Merlyn Feliciano, Aaron Loves Angela

“Can’t Help Falling in Love”, music and lyrics by Hugo Peretti, Luigi Creatore, and George David Weiss, Blue Hawaii (1961)

“Dekhi Zamaane Ki Yaari / Bichhde Sabhi Baari Baari”, music by S.D. Burman, lyrics by Kaifi Azmi, Kaagaz Ke Phool

“(Do You Know What It Means to Miss) New Orleans”, music by Louis Alter, lyrics by Edgar De Lange, New Orleans

“Farewell to Storyville", music by Louis Alter, lyrics by Edgar De Lange, New Orleans

“Happy Endings", music by John Kander, lyrics by Fred Ebb, New York, New York

“Here They Come (From All Over the World)", music and lyrics by P.F. Sloan and Steve Barri, The T.A.M.I. Show

“Is There Still Anything That Love Can Do?", music and lyrics by Yôjirô Noda, Weathering with You

“Theme from New York, New York”, music by John Kander, lyrics by Fred Ebb, New York, New York

“Waqt Ne Kiya Kya Haseen Sitam”, music and lyrics by S.D. Burman, Kaagaz Ke Phool

Thank you to all of those who participated in the 2020 Movie Odyssey Award for Best Original Song!

Best Costume Design

Uncredited, The Duke Is Tops (1938)

Irene Sharaff, Flower Drum Song

Jenny Beavan, Gosford Park

Jacqueline Durran, Little Women

Henry Noremark and Karin Erskine, The Magic Flute

Ruth E. Carter, Malcolm X

Marcelles Desvignes and Mireille Leydet, Olivia

Gabriella Pescucci, Once Upon a Time in America

Travis Banton, One Hour with You

Bonnie Cashin, Three Little Girls in Blue

Best Makeup and Hairstyling

Daniel C. Striepeke, John Chambers, Verne Langdon, Jack Barron, Mary Babcock, and Jan Van Uchelen, Escape from the Planet of the Apes (1971)

Sallie Jaye and Jan Archibald, Gosford Park

Judy Chin and Fríða Aradóttir. Little Women

Uncredited, Lone Wolf and Cub: Sword of Vengeance (1972)

Uncredited, The Magic Flute

Marietta Carter-Narcisse and John James, Malcolm X

Michael Westmore, Christina Smith, Mary Keats, June Miggins, and Sydney Guilaroff, New York, New York

Carmen Brel, Simone Knapp, Jean Lalaurette, and Maguy Vernadet, Olivia

Ben Nye, The Shocking Miss Pilgrim

Ben Nye, Three Little Girls in Blue

Best Production Design

Norman Reynolds and Harry Cordwell, Empire of the Sun

Alexander Golitzen, Joseph C. Wright, and Howard Bristol, Flower Drum Song

Stephen Altman and Anna Pinnock, Gosford Park

Elliot Scott and John Jarvis, The Haunting

Bob Shaw and Regina Graves, The Irishman

M.R. Achrekar, Kaagaz Ke Phool

Henny Noremark, Anna-Lena Hansen, and Emilio Moliner, The Magic Flute

Harry Kemm, Robert De Vestel, and Ruby R. Levitt, New York, New York

Dennis Gassner and Lee Sandales, 1917 (2019)

Carlo Simi, Once Upon a Time in America

The production design, or the haunted house, was a character. Nothing else in this category could compare.

Achievement in Visual Effects (all are winners because it would be unfair to compare the visuals of 1917 against When Worlds Collide)

Babe: Pig in the City (1998)

Destroy All Monsters

The Irishman

1917

Red Dawn (1984)

Plymouth Adventure (1952)

War of the Worlds (2005)

When Worlds Collide (1951)

Worst Picture

Age 13 (1955 short)

Fireman, Save My Child! (1932)

Frankie and Johnny (1966)

The Greatest Story Ever Told

Red Dawn

Jurassic World: Fallen Kingdom (2018)

Fuck Fallen Kingdom.

Honorary Awards:

Colored Players Film Corporation, for its thematically courageous race films, tackling issues neglected by Hollywood

Harold Michelson, for his contributions as an illustrator and storyboard artist (posthumous)

Lillian Michelson, for her dedication as a film researcher and archivist

Tadahito Mochinaga, for achievements in stop-motion animation with Rankin/Bass

Floyd Norman, for his pioneering career in cinematic animation

FILMS WITH MULTIPLE NOMINATIONS (excluding Worst Picture... 57)

Ten: Once Upon a Time in America Nine: Kaagaz Ke Phool Seven: New York, New York; One Hour with You Six: The African Queen; Gosford Park; The Irishman; Parasite; The Shop on Main Street; The Trial Five: Flower Drum Song; The Haunting; A Letter to Three Wives; Mädchen in Uniform; Ordet; Persona; Three Little Girls in Blue; Tokyo Olympiad Four: Edge of the City; Emitaï; The Magic Flute; Malcolm X; New Orleans; Olivia Three: Aaron Loves Angela; Blue Hawaii; The Cave of the Yellow Dog; It Happened on Fifth Avenue; Marriage Story; The Scar of Shame; The Shocking Miss Pilgrim; Stars in My Crown Two: The Battle of the Century; The Big City; Body and Soul; Born Free; Crisis: Behind a Presidential Commitment; Deliverance; Destroy All Monsters; The Dragon Painter; The Greatest Story Ever Told; I Lost My Body; Kiss of Death; Klaus; Mad Monster Party?; Marona’s Fantastic Tale; My Dream is Yours; 1917; Pinky; The Princess and the Pirate; The River; Road to Utopia; Saludos Amigos; Sleepwalking Land; Soul; The T.A.M.I. Show; Weathering with You

WINNERS (excluding honorary awards and Worst Picture; 28) 3 wins: A Letter to Three Wives; Ordet 2 wins: The Haunting; Mädchen in Uniform; Once Upon a Time in America; Parasite; The Shop on Main Street; The Trial 1 win: The African Queen; Babe: Pig in the City; Blue Hawaii; Destroy All Monsters; Emitaï; Gosford Park; The Irishman; Kaagaz Ke Phool; Kiss of Death; Malcolm X; Marona’s Fantastic Tale; New York, New York; 1917; One Hour with You; Red Dawn; Persona; Plymouth Adventure; The Shocking Miss Pilgrim; Shoes; Tokyo Olympiad; War of the Worlds; When Worlds Collide

92 films were nominated in 26 categories.

#2020 Movie Odyssey Awards #My Movie Odyssey

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shinsengumi-archives · 4 years

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Hijikata’s childhood and family

I can’t give new books in my hands !!! By tomorrow we need to finish the annual report for work, and I'm sitting reading with a dictionary about the Hijikata childhood. And it’s indecent to laugh))) First of all, old-Japanese now haunts me everywhere - it seems that the book is modern, but Ms. Hijikata Megumi gives there a magazine article about our boy - "Tales of Hijikata Toshizo’s childhood" of the 1897 edition, with lots of obsolete words and phrases. 負くる逃ぐる - well, there’s no such thing in the whole modern Internet, and the word “tooth” is written there like that 齒. Although this is still a little flower, it is at least clear what is meant, and there is still a lot of what is not clear.

Secondly, in childhood they-but-fukuche was they-but-ko (hellish child). He threw stones, fought with sticks and played other crazy games with bad boys; he didn’t listen to his elder brother; not everything was deciphered))

And at a very tender infancy, he was plump, strong, with a cunning muzzle, when he learned to walk and fall, he did not cry, and he loved falling asleep to the sounds of a rattle-drum, which to this day entertain Japanese children so that they grew up like a hij kata :

Part 2

https://fushigi-dono.diary.ru/p146604296.htm?oam#more1

Only a month has passed since the New Year holidays, and I have again accumulated a whole list of tasks that had to be done yesterday. And in the "nifigan I succeed" mode, I am usually drawn to do whatever I get, but not what I need. Eh. Therefore, as a relaxer, I again read the book of Hijikata Megumi. In general, this book is a kind of collection of family traditions of the Hijikata clan. A set of tiny episodes from the life of the then-yet-not-castle, the small strokes to his character from the most reliable sources. That is why they are interesting! In my opinion, these episodes are compiled somewhat randomly, so you can read from any page, the essence of this does not change. I read where chapter titles mean it's exclusive So this time there will be a retelling of p. 46, as well as 75-76, 103 and 111-113, on which the stories are connected. School years At what age and in general how many years Hijikata went “to school”, it is not written there (although for example I am interested in the education system of peasant children in the pre-Bakumatsu era!) . It is only said that he was taught to read and write by a relative, Honda Kakuan from the village of Yaba (or Yaho?). Members of the Honda family in former times taught the art of riding to the Tokugawa family, that is, they were considered persons close to the shogun. And at the same time, they taught the inhabitants of the surrounding villages the art of calligraphy, and not some, but the Ichikawa Beian ryu, which was used by 3 famous ancient calligraphers from Edo (I don’t know who they are, but the style is terribly illegible!) One of Toshizo’s aunts, his sister father, was married to a member of this respected family, and here he was put there to learn the mind. The village of Yaba was located beyond the Tamagawa River, on which, at that time, apparently, there were no bridges from the word "completely." There was some kind of ferry, but it was necessary to make a hook before it, so Toshizo slapped back and forth across the river barefoot, picking up the hem. And when the river was pouring, he did not go to school, but he regularly did homework. It is unclear whether he studied there alone or had any classmates, but apparently he was friends with the son of his teacher named Thayan, who in the 20th year of Meiji (1888?) Even went to Hokkaido to visit the tomb of Hijikata. And he wrote some verses in his memory, and in general there is a whole letter of this Thayan, but it is in Old Japanese, so I have not decoded it yet. Honda tayan

Uncle Toshizo

It was not in vain that I suspected that Kiroku’s elder brother had begun to attach the younger ones somewhere when his own children went. So it turned out: the first time Toshizo was given “to the people” in 1845, when Kiroku was born the eldest son Sakusuke, and the second when the eldest daughter was born. So with his nephew, who later became Hayato and the successor of the Hijikata clan, Toshizo had a difference 10 years. This uncle was a nephew more like an older brother. They often washed together in the bathroom (it was impossible to go there alone), but Toshizo liked it to be hotter, and little Sakuske could not stand such a temperature, jumped out of the bathroom and ran into the yard. Toshizo chased him around the garden and shouted: “Well, what kind of man are you, even if you can't even get into hot water ?!” The captured nephew was stuffed into a tub of water and closed with a lid for greater reliability. This was repeated from time to time, but at the same time, Sakusuke did not drown and did not suffocate, but lived to the age of 83 (died in 1928) But I do not envy him! In general, Hijikata raised all his nephews with "real men" (I wonder if his older brothers raised him like that too? ) In 1860, at the age of 40, Kiroku suddenly became ill and died. He has seven children left. Sakusuke was then 15, and he formally became the head of the family, although in fact he was helped by the blind brother of Tamejiro's father, well, Toshizo. The following year, the "head of the family" married the girl Tane, in order to continue the family. Toshizo admonished the newlyweds: "Rather, give birth to an heir so that I can be calm for you." Further, Megumi-san writes that despite Toshizo’s popularity with women, “Tanya’s grandmother” disliked him and subsequently spoke of him like this: “Toshi-san wa nee, hida n da yo, hida n da yo!” Hida is terrible , cruel, unfair. In general, radish is not a good person. They say she was terribly offended by one letter. Or because of two. Even when Hijikata was in Kyoto, Sakusuke and Tane had their first child - a girl (at the same time she was named Tetsu). Around the same time, the firstborn, a boy, was also born in the Hashimoto family from Onoji village. Toshizo from this family had a grandmother Noe, and his aunt Coe got married there. In general, they are very dear relatives. In addition, they were neighbors of Kojima Shikanosuke, who had a dojo in which Toshizo worked, so he often visited these Hashimoto. And on the occasion of the birth of his son, he sent his cousin gifts and congratulations in verse:

The crane calmly flies up to the top of a high mountain, and may your son mature just as easily and calmly. (I can not vouch for the accuracy of the translation, in the original Chinese poetry, and Megumi-san cites the translation in modern Japanese). And he handed a letter to Hijikat’s home, in which there was only one phrase: “A woman is nowhere worse” (if I understood this phrase correctly: 女は下の下なり). One can easily imagine the feelings of grandmother Tane, writes Megumi-san, who, unlike the Hashimoto family, received such a “congratulation” on the birth of her first child. So since then, she never spoke well about Hijikat Toshizo. And the letter touched this somewhere, probably threw it away. And their first son was born after the death of Hijikata, in the 5th year of Meiji. (Interestingly, did he also congratulate Kondo on the birth of his daughter? ) Here you might think that Hijikata didn’t digest girls at all as a form of life form, however, in the short chapter “Gifts from the Capital”, Megumi-san writes that Toshizo was very worried about the future of his niece Nui (of the seven children of Kiroku, she was one girl), and when he came from Kyoto, each time he brought her a gift of kanzashi hairpins and all sorts of other girlish little things (she was then 12-16 years old). Of all the gifts, only two painted bowls have survived to this day. For the future of Nui, Uncle Toshizo was not in vain worried - she was initially married, but because she was frail and sickly, she had to return to her native home, where she died at 45. And about Sakusuke it is also said that he participated in the battle of Kosyu-Katsunuma (then Sato Hikogoro formed a Kasugatay detachment from the locals to help Shinsengumi). And that he subsequently collected all kinds of information about Hijikat and Shinsengumi (such as clippings from 1897 magazines), and thanks to him they were preserved for posterity (probably hid them so his wife would not throw it out). Illustrations: In the upper photo on the left is Hijikata Hayato Sakusuke, below is a gift bowl from Kyoto of the Hijikata, Sato and Honda Families. Sitting: 4th on the left Hijikata Tane, 5th - Sato Jin, 6th - Sato Toshinobu (the eldest son of Sato Hikogoro. It was this nephew of Hijikata who gave his beloved katana Yasutsugu). 7th - Honda Thai. Downstairs is "Grandma Tanya" close-up. Greeting card from Hijikata on the occasion of the birth of his son Hashimoto Michiske. September 1865 Signed by "Yoshitoyo". It is an example of castle calligraphy.

Part 3

https://fushigi-dono.diary.ru/p147044018.htm?oam#more1

In addition to his main relatives, Hijikat often went to visit the Taira family from the village of Kamida from childhood. It was an ancient clan leading back to the Muromachi period (XIV-XVI c). Toshizo from this family had great-grandmother Chiyo, who died more than 30 years before his birth, but nevertheless the Hijikats and Tyra continued to be friends with their families. In 1854, when Toshizo was 19 years old, a funeral took place in the Tyra family. He came to help relatives, and he was attached to monitor the shoes that the guests took off at the entrance to the house (the Japanese even have a special word for this lesson: gesokuban - a servant who looks after the shoes). There were a huge number of guests presenting condolences. Toshizo neatly arranged all their geta, dzori and varaji in rows, and when the guests left, he betrayed one pair at a time and did not confuse anyone's slippers. “He was a very smart boy,” the Tyra family later recalled. Therefore, when the next year they again had a funeral, he was already attached to help in the house: to carry guests from the kitchen bottles of sake, soba and other dishes. After the guests dispersed, relatives and friends were left to sit in a narrow family circle. Toshizo got drunk, took out an old soroban (Japanese abacus) from somewhere and started fooling around with him, waving it and counting: “This one ate so much. He drank so much. " And so, to the amazement of those present, he listed all the guests))) After leaving for Kyoto Hijikata, I did not forget my friends from the Tyra family and wrote letters to them (one of them I already translated, this is the same New Year's greetings with a picture, where there are slides and flags ) He also visited them when he returned to his homeland with the aim of recruiting recruits. And he looked in on a visit just when Riyo's grandmother, the wife of Tyr Chuymon, made botamoti - sweet rice cakes. Naturally, she began to treat them to the castle, and he refused: “Thank you, don’t, I’ll not be for long.” Then the grandmother barks at him: “Until you eat at least one cake, you won’t win a battle!” I stayed and eat))) ____________________________ I am so pleased with these family tales, I can’t tear myself away! And read easily. I am retelling quite close to the text, so consider it a translation. Botamoti cakes look like this:

They probably look more like pies. These are such soft rice balls wrapped on top with a sweet adzuki red bean paste. They are traditionally cooked during the week of the spring and autumn equinoxes, which are a holiday for the Japanese. There is a belief that the red color of adzuki has a magical effect against unhappiness, therefore, since ancient times, they have been used for medicinal purposes, as well as in various religious rites. Even in Japan, there is a saying: 棚から牡丹餅 (tana kara botamoti) - "botamoti fell off the shelf," which in terms of meaning is very similar to ours "a truck with cookies turned over on the street," that is, happiness suddenly fell. And it’s not good to give up happiness, so listen, Toshi, grandmother and Kuuushai! )))

The recipe for botamoti can be found here .

Part 4

https://fushigi-dono.diary.ru/p148971995.htm

Today I read what these numerous Hijikats did with the things of their famous relative. Burned and drowned! I cry Under the new regime, the main relatives of the Hijikats, led by Sakuske-Hayato, were declared the "family of the enemy of the people." And rumors passed that they were going to destroy them all. And they decided to escape, who can. But first, Toshizo’s letters and most things were burned and thrown into the well, which is behind the house, in front of the barn. And then the whole family, including the maid, hid from relatives. And every day one of the men went to Mount Takahata to look at the road, whether they were coming from Edo to kill them. And one day someone saw that they were GOING - a whole detachment of government troops was walking along the Kosu highway directly to them. The sentinel was frightened to horror, but nothing happened - the detachment calmly walked past, no one was looking for the castle family. So the Hijikats eventually returned to their home, where everything was already overgrown with cobwebs. Eh, he didn’t raise a Hijikat from his nephew Sakusuke a real man - some kind of coward had grown. If only he would bury everything in the same place, in front of the barn! It was necessary to burn ... And for some reason they destroyed the well. It is amazing how at the same time a collection of poems was preserved, a forehead, a helmet and other pieces of iron! And a katana. Probably because everything was kept by Sato ... But I thought that it was Hijikata who mainly sent Sato and Kojime letters, but only one New Year's card to my home! But it turns out he wrote home, and he probably had some diaries from his studies in Shiaikan, but now nothing is left

#hijikata #childhood #hijikata family #fushigidono #recommended #translated #Translated from Russian #wip

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nzchao · 2 years

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「ムラカミロキ」映像上映

今週末、本日から日曜までの３日間にかけて京都ルーメンギャラリーで開催される、ビデオパーティーに出品します。自分は最終日20日の17:30〜、プログラム６大トリ（なぜか）にて『energy』が上映されます。関西方面の方、連休で京都方面に遊びに行ってる方はぜひとも足をお運びください。 -------------------------------------------------------

VIDEO PARTY 2022

■開催日時

2022年3月18日（金）〜20日（日）

■上映スケジュール

3/18（金）

15:00~ Program 1 17:30~ Program 2

3/19（土）

15:00~ Program 3 17:30~ Program 4

3/20（日）

15:00~ Program 5 17:30~ Program 6

■入場料 1日券　一般1,000円（学生500円） 3日券　一般2,000円（学生1,000円）

■会場京都 Lumen Gallery http://www.lumen-gallery.com/ Mail: [email protected] Facebook Page https://www.facebook.com/lumengallery.kyoto Twitter: @lumen_gallery https://twitter.com/lumen_gallery

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------------------------------------------------------- VIDEO PARTY 2022 開催

個人によって創られた映像作品はストーリーが無いものもあり、一見すると内容が難解と思われがちですが、その可能性は無限であり、次々と新たなイメージが産み出されています。しかし残念ながら、そのジャンルを越えたバリエーションに触れる機会は、多いとは言えません。私たちは、確実に増殖する個人映像作品を上映し記録することで、個人映画公開の機会をさらに増やしていきたいと考えています。 VIDEO PARTYは京都を中心に、所属、立場、ジャンルを越えた、ドラマ、アニメーション、実験映像からドキュメンタリーまで内容も様々な、個人で作られた映像を発表する場として企画され、2013年より公募作品の上映活動をしています。

また、2014年より海外映像祭や教育機関、上映団体等と連携し作品の交換上映も進めています。2016年は台湾、韓国、マカオ、中国、札幌での上映をし、VIDEO PARTYの参加作品を各地で紹介しています。個人の眼差しによって紡がれる映像の行く末と更なる可能性を探る〈場〉へのご参加をお待ちしております。 2022年は3月18日(金)〜20日(日)の3日間、京都のLumen galleryにて開催します。

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■主催 Lumen gallery ■企画・運営 AF PLAN ■協力新視角・株式会社電気蜻蛉・ファインダーズビューロ・未來電影日 Future Film Day

AF PLAN http://www.af-plan.com/ Twitter: @AF_Plan_info https://twitter.com/AF_Plan_info

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■プログラム参加作家（全79作品）

●Program1（13作品103min.） 3/18(Fri.) 15:00

響想詩　水の響影　壱 Mizu No Kyou Ei 1 / 山里ぽん太 Ponta Yamazato 夢の中の女 Woman in a dream / あさぎ21号 Asagi 21Gou 末期デラックス MATSUGO / 三ツ星レストランの残飯 ZANPANO びくてぃむ Victim / 三ツ星レストランの残飯 ZANPANO 風を聴く Listening to the Wind / 高原修一 Syuiti Takahara 21:00 21:00 / にわあやの Ayano Niwa さようなら、今日 Goodbye to today / 守山志保 Shiho Moriyama ビニールな日々 Vinyl Days / 山川智輝 Tomoki Yamakawa 映像書簡『あぶりだし・アソート』 Video letter "ABURIDASHI Assort" / 鈴木野々歩 Nonoho Suzuki オーロラコーラスプロジェクト Aurora Chorus Project / 鈴木椋大 Ryota Suzuki 截斷面 no.444 Ten Thousand Miles Away / 陳君典 Chun-tien CHEN しょうきっとん Shoukitton / 山口健太 Kenta Yamaguhci ピンホール日記 Pinhole Diary / 門脇健路 Kenji Kadowaki 狐の嫁入り Fox Forest / 西村美苗 Minae Nishimura

●Program2（10作品110min.） 3/18(fri) 17:30

クリスマスの証明 Christmas / 赤木崇徳 Takanori Akagi こんばんわ　ごゆっくりどうぞ Good evening. Take your time / 前瑞紀 Muzuki Mae 霜肥-SHIMOGOE- SHIMOGOE / 三ツ星レストランの残飯 ZANPANO みどりざわめく「とき」 Verdure Rustling in Time / 由良泰人 Yasuto Yura リバティ・ツリー・サーカス Liberty Tree Circus / 藤井アンナ Anna Fujii 都城市の随筆（後編） The city essay part2 / Johnny HUNG 透明な私 Transparent,I am. / 村岡由梨 Yuri Muraoka 1/5400の独歩 Flght and Frame / Johan Chang 君の心が聴けるウサギの耳がほしい。 The heartbreak of first love / 市川良也 Yoshiya Ichikawa 視点×私点 My point of view / 昼間行雄 Yukio Hiruma

●Program3（14作品100min.） 3/19(sat) 15:00

京都学生祭典本祭オープニング映像 Kyoto Intercollegiate festa opening movie / 中西亮介 Ryosuke Nakanishi Showery intersection / らぐすけ Ragusuke 天神さんテクスタイル Tenjinsan Textiles / ライオンズ・マイケル & 三谷悠華 Michael Lyons & Haruka Mitani わたしは恋人 I am girlfriend,aren't I ? / 三木はるか Haruka Miki 無題 Untitled / HSU Hai-Wen 濁ッた佃煮 TSUKUDANI / 三ツ星レストランの残飯 ZANPANO そうまとう trotting horse lamp / コカエイ GU JIAYING まよなかのいぬごやレース Kennel race at midnight / MATSUMO パウ pow / 東遼太 Ryota Higashi Samsara / ニシノユキコ Yukiko Nishino redcat channel / 高橋幸太郎 Koutarou Takahashi Moruman`s in Fab / まきのみつる Mitsuru Makino 耳の見た夢 The dream that ear had / ウエノアキヒト Akihito Ueno Daydream of TV / 林ケイタ Keita Hayashi

●Program4（13作品105min.） 3/19(sat) 17:30

scope / うえだしょうた Syota Ueda 蒼い影たちの弔い Blue shadows,funeral / 猪鼻秀一 Shuichi Inohana アノナツココナツ ANONATSU COCONUT / 多田文彦 Fumihiko Tada ある日のアルテ ONE DAY IN ARTE / 吉田孝行 Takayuki Yoshida 外テ物 GETEBUTSU / 三ツ星レストランの残飯 ZANPANO 令和陰陽説 Reiwa Yin Yang theory / 三宅章介 Akiyoshi Miyake eyes / 役者でない Yakusyadenai MIX / 中村古都子 Kotoko Nakamura 変調 Hen-Chyou / 立川清志楼 Kiyoshiro Tatekawa 書動ー序・タイムコラージュー Moving calligraphy―Introduction and Time collage― / 片岡拓海 Takumi Kataoka 身を焦がす Burn yourself / 島津凜音 Rinne Shimazu いってきます Ittekimasu / 高山隆一 Ryuichi Takayama 宿題少女 Homework Girl / 岡松トモキ Tomoki Okamatsu

●Program5（14作品104min.） 3/20(sun) 15:00

なんてすばらしい祈り parasite and me / 榎本貫之介 Kannosuke Enomoto atmosphere / 岡澤侑希 Yuki Okazawa 臓さん Mr.Hormone / 三ツ星レストランの残飯 ZANPANO ALL MY LOVE / 柳瀬昇 Noboru Yanase 襲歩 gallop / 三上あいこ Aiko Mikami 同居相手 Roommates / 高橋鈴奈 Suzuna Takahashi cloud / 山本宰 Tsukasa Yamamoto 闘え!!ハクマイダーフォー Fight !! HakumaidarFour / 岸本真季 Maki Kishimoto within 3 blocks / 伊藤仁美 Masami Ito BASEMENT SHINE / ヤア YAA うごめくゴッホ・ひまわりver. Moving Vincent (Sunflower Version) / ひろさわ Hirosawa Fine as usual #006 / 大力拓哉三浦崇志 Takuya DAiriki & Takashi Miura Biased view-見えない偏見- Biased view / うずしむ Uzushimu 重み Gravity / みやけあい Ai Miyake

●Program6（15作品106min.） 3/20(sun) 17:30

YARNimation / さとうゆか Yuka Sato お引っ越し Moving / 小野光洋 Mitsuhiro Ono Oh K? No / ないとう日和 Hiyori Naito LIGHT TRACE / 波田野州平 Syuhei Hatano 妙な肉 strange meat / 三ツ星レストランの残飯 ZANPANO 公共避難訓練 Evacuation drills from the public / 山本美里 Misato Yamamoto 猫マッチョ Cat macho / 中島楽人 Gakuto Nakajima 食べること、喋ること Eating and speaking / 小野寺海香 Mika Onodera InSearchofprojectionlight Pre-Composition2 / Yüiho Umeoka MIRROR / RORRIM / 川口肇 Hajime Kawaguchi 餃子の味 The Taste of Gyoza / 木村栞緒 Rio Kimura Tokyo Cyanoghosts / 工藤雅 Masa Kudo おかしなもののダンス Dance of strange things / 延紗英子 Saeko Nobu energy / ムラカミロキ MurakamiLoki

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VIDEO PARTY 9

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https://murafake.hatenablog.com/entry/2022/03/18/112706

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