Akira (1988)

 

Akira

Ever since my son learned “Akira” is on the List, he has impatiently been asking me when it is coming up. He has watched it several times and tells me this is one of the best and most important anime out there. Finally watching it with me was a big thing.

The story takes place in 2019, 31 years after a disaster destroyed much of Tokyo. Life in Neo-Tokyo is on the brink of chaos with a tenuous balance between a rumbling populace and an increasingly fascistic government. It is a nihilistic world where youth gangs are rampaging and the future looks bleak. Taneka belongs to such a biker gang, driving an awesome, red monstrosity of a bike. When his friend and fellow gang member Tetsuo gets involved in an accident, something strange happens.

Tetsuo is taken away by the military, and we learn they hold a number of oddly gifted children in a research facility. They possess a curious telepathic power and are part of a defence against a mystic entity called Akira, who, we learn, was the cause of the 1988 disaster. Tetsuo, it turns out, also have these powers, except he cannot control them at all.

Kaneda joins a rebellious group, mostly because of a girl, who wants to penetrate the military research facility to challenge the government, but it develops into a struggle to contain Tetsuo before he as well will destroy the city.

It is a wild story like all manga and anime and, frankly, I had some problems following it. In fairness though, I have trouble following most of the anime my son is showing me and this is not the worst. What they all have in common is the intensity. All emotions are 100%, dialogue is either screaming or sinister serious, there is no middle ground. The stakes are as high as possible, the end of the world or unbearable personal humiliation. “Akira” is all of that and for two hours straight, this is an exhausting affair.

Fortunately, there is also something glorious in all this extreme. It is dark and big, machines and technology are massive, explosions are world shattering and everything happens so fast, although there is always time for the characters to cry their heart out or predict the end of the world. This makes it a visual rollercoaster ride through some extraordinary animations and details in drawing. My son dabbles in drawing himself and he tells me that the level of detail in the scenes in “Akira” is among the best ever. It is truly detailed and what impresses me the most is the amount of world building that has gone into this. Sure, it is largely based on Japanese culture, but there is an extrapolation here that resembles “Bladerunner” and with a strong internal logic.

Two years ago, my family spent our summer vacation in Japan and experienced first hand how big manga and anime is there. This is not just a marginal entertainment genre, but something that seems to penetrate everything. I do not remember if we saw anything particularly referring to “Akira”, but given this movie’s celebrated status, it is difficult not to think it had a major influence on how this scene has developed since.

Although there is a conception that anime is mainly for children, “Akira” is not an easy movie to watch. The themes are adult or at least adolescent and the complexity of what is happening on the screen requires both attention and some maturity from the audience. But then again, my old brain may have atrophied, and a younger head is needed. I had to get the ending explained by my son. In the riot of colours and sound I lost track of what happened there in the conclusion.

“Akira” is an impressive movie, but probably not an obvious starter movie in the anime genre. It is adrenaline and high octane, but also surprisingly complex. And, as I am told, an early high point in the genre. That makes it a recommendation.

There are two more anime coming up for 1988.

 

The Thin Blue Line (1988)

 

The Thin Blue Line

Watching “The Thin Blue line” I get the impression that this is a milestone in true crime as a television or cinematic genre. I tried to look up what true crime was before this and the results were a bit vague, but the true crime shows on television since then look pretty much like “The Thin Blue Line”.

Documentarist Errol Morris stumbled on the story of Randall Adams while investigating a different story. Randall Adams was on a life sentence for killing a policeman in Texas, only something was not adding up, and his case is presented here through interviews and reenactments.

The outline of the story is that a car was pulled over one evening in 1976 by the police and as one of the officers went up to the car, he was shot point blank. Earlier that day Adams, who was passing through town had run out of fuel and was picked up by a guy called David Harris. They spend the day together and it was this car that was pulled over and Adams was arrested for the murder.

What Morris finds out is two things. That Harris, a hardened criminal, albeit only 16 years old, had bragged to his friends about killing the policeman and that the authorities seemed very keen on pinning this on an outsider rather than a local boy. There are interviews with both Adams and Harris, both of which makes it quite clear that Harris was the actual murderer and not Adams. The interviews with the police and the prosecutors gave the impression that they were dead certain while the defending side had been stonewalled and largely ignored. It was even mentioned that Adams was a better suspect because he was old enough to be eligible for death penalty.

We do not get far in “The Thin Blue Line” before we see this picture. It is not as if Morris has some twists for us. Instead, the picture just gets clearer and clearer. Yet, all the reenactments keep using Adams as the villain to the end, likely to demonstrate how unwilling the prosecution was to let go of this idea.

Morris has been criticised for being unreliable and biased and that there are also inconsistencies on the defendant’s side that are not explained here, yet it is hard to argue with the last scene, a tape recording of David Harris admitting to the murder, which, of course, makes Adams wrongly accused.

I had some trouble following the story. My copy had no subtitles, and the Texan drawl was very heavy on some of the characters, forcing me to guess at what they were talking about. Secondly, Morris never present the names and titles of his interviewees. I had to infer that from the connection. Some I can guess, simply because we got back to them so many times, but there are also those I still do not know who was in the story. That may be a point from Morris side, but not very helpful.

There are not that many documentaries on the List, and I sometimes wonder if those that are included, are there because they function as a movie feature in an artistic sense rather than just for information. If that is the reason “The Thin Blue Line” is included due to the style used to present the story. Is this the birth of the modern true crime show? Or is it a case of Morris messing with our heads and that is the artistic value? I like to think and indeed I hope it is the former and that Adams was released because of this. Morris drives a strong case, and I would hate to learn that it was all bull.

The unveiling of injustice is an interesting subject matter and as such this is an interesting view. As true crime though, all it takes is to open Netflix. We are swamped by those shows and I am frankly a bit tired of them.

    

Married to the Mob (1988)

 

My Wife Wants Me to See This: Married to the Mob

The third movie my wife got to chose for 1988 is the romantic comedy “Married to the Mob”. This is one of her favourite movies, so I have promised to give it a nice review.

Again, this is a movie with a strong, female lead. Angela de Marco (Michelle Pfeiffer) is the cliché wife of an Italian-American mob henchman, Frankie "The Cucumber" de Marco (Alec Baldwin). Like all the wives in her circle, she lives an idle life of housewife’ing, looking pretty, and all the creature comfort illegal money can get. Except, Angela is sick of it, all of it. Angela wants out. When Frankie is shot for frequenting the same whore as his boss, Tony "The Tiger" Russo (Dean Stockwell), Angela sees an opportunity. She gives everything away and leaves for New York with her son. This move is also strongly motivated by the amorous, but unwanted, interest of Tony.

Angela has also attracted the attention of the FBI. She was the wife of the murdered Frankie and she was seen kissing (or being kissed by) Tony. Clearly, she must have something to do with it. The lead investigator is the competent, but slightly juvenile, agent Mike Downey (Matthew Modine).

The new shithole apartment in New York is now getting crowded with unwanted guests from both the mob and the FBI, while Angela is simply trying to move on with her new life as a hairdresser. Predictably, this leads to awkward and comical situation with Tony looking for Angela, Connie (Mercedes Ruehl) looking for Tony (the only person Tony is afraid of) and Mike taking close surveillance very literally. This gets even more complicated when Mike falls in love with Angela.

Of course, this cannot go on and when it blows up, it really blows.

This is a romantic comedy with stress on both words. The romance is a very key component, and that counts for the miserable one with Frankie, the unwanted one with Tony and the dreamy one with Mike. The same is true for the comedy. Practically everything plays for comedic effects. This is not just the New York apartment that serves as a Marx Brothers stateroom, but everything else too. The gangsters do kill people, but they are also over the top gangsters who enjoy songs to their praise, sport silly nicknames and over-do the whole Italian mob family thing. It works though. Yes, they are a bit silly, but it is also fun. The greatest character, though, is Connie. Connie constantly suspect that Tony is unfaithful (which he is) and she is a huntress on the prowl when she smells foul play. She becomes literally feral when she goes after Tony and woe that person that gets in her way. Watching the badass gangster boss being afraid of his wife is priceless.

By 1988 the Italian gangster film is a well-established trope. It is already a log time since “The Godfather” and mobsters are getting to be a bit of a joke. “Married to the Mob” takes all these tropes and clichés and makes fun of them and because we are so familiar with the tropes, they become so funny here.

It also changes the viewpoint to a female position. This allows for angles we otherwise never see. What do all these mob-spouses actually do? It also allows for a strong and interesting female lead, something all the movies in this category has in common (not surprisingly, my wife likes movie with strong female leads). It is great to have such movies and a movie like “Married to the mob is an example of the options that gives the movie maker. Michelle Pfeiffer grabs this opportunity and gets the best out of it.

Director Jonathan Demme went on to make other movies with strong female leads such as “Silence of the Lambs” (NOT a romantic comedy), but before “Married to the Mob” he directed the fantastic Talking Heads concert movie “Stop making Sense” (reviewed on this blog). He brought along David Byrne who made a great musical score for “Married to the Mob”.

It is very difficult not to like “Married to the Mob”. If you accept it as a romantic comedy, and it never claims to be anything else, it will not disappoint. Probably a good date movie too.

 

Ariel (1988)

 

Ariel

Finland is an amazing country. There is a certain seriousness and sincerity about Scandinavians in general, but even for us, the Finnish stand out with their deadpan attitude. Few has been able to present this deadpan delivery as well as Aki Kaurismäki and this is reason enough to love his movies.

Taisto Kasurinen (Turo Pajala) is a miner whose mine closes. Sitting in a café, he listens to the rant of a colleague who then goes to the bathroom to kill himself. Taisto leaves his ramshackle house in his big, old convertible and drives south to the city.

Taisto gets robbed of all his money, takes on day-to-day work at the docks and stays in the dorm of a hostel. Irmeli (Susanna Haavisto) works as a hotel maid, night watch, butcher and as a parking attendant and in this function she is giving a ticket to Taisto. Impressed with his car, she jumps in with him and soon they are in her apartment, swearing eternal fidelity to each other.

What follows next is a string of poor luck for Taisto. He cannot find a job, is kicked out from the hostel and he is arrested and convicted for assault on one of the bandits who mugged him early on. In prison he befriends the bleak long-term prisoner, Mikkonen ( Matti Pellonpää). Together and with the help of a file from Irmeli, they escape. To get fake passports they take a job to rob a bank. The passport gangsters double cross them and Mikkonen dies in the ensuing gunfight. Taisto, Irmeli and her son flees on the ship “Ariel” to Mexico.

This summary sounds staccato because it is. One action takes the next in short scenes. Hardly a word is uttered, things just happen in rapid order. This makes it possible to pack all this into a 72-minute running time.

The subject matter is serious enough. This is the old tale of an innocent person who hits misfortune and through a series of coincidences finds himself in big trouble. This is social realist in the sense that it presents a certain hopelessness and vulnerability of the dispossessed and a hardness by the surrounding society. As such it is a social critique. But it is also a fairy tale. Things happen almost magically in the movie. Irmeli showing up out of the blue. Mikkonen as a helping agent who helps him escape and get passports. The misfortunes that practically fall out of the sky.

What makes the movie special, however, is the deadpan delivery. This is on every level. The way the scenes follow each other, what happens to the characters of the movie and not least their reactions and dialogue. Never do we see a hint of emotion in the dialogue, whether for love or anger. Everything is said in a clipped, businesslike manner. This deadpan is taken so far it becomes hilarious and what should be a serious movie becomes a comedy of sorts.

I have Aki Kaurismäki strongly suspected for deliberately making fun of this idiosyncratic Finnish deadpan style. Any doubt should be wafted away when considering some of his other movies. His Leningrad Cowboys project uses deadpan humor very deliberately and it is not alone. I totally dig this humor. It is certainly not for everybody, and I can easily imagine this going over the head of many people, but to me it is a riot. I was howling from laughter during the flirting scene in the car and the prison escape was pure slapstick. Even a small thing like Taisto finding a bigger picture to compete with his neighbor’s in the hostel is so subtle and elegant deadpan humor that I am still smiling.

“Ariel” is not a big movie and technically it is not very advanced, but if you like Finnish deadpan delivery as much as I do, this is a gem.

Bull Durham (1988)

 

Bull Durham

I do not know the first thing about baseball. For one, I was born and live on the wrong continent for that sport and secondly, any attempt at grasping it has hit a wall, every time. The rules, the lingo, the names and the concepts, it is all nonsense to me. That is not unique for baseball, I feel the same way for many other sports. American football is an even darker zone. In the case of “Bull Durham” this is a problem because this movie is all about baseball.

Most sports movies are watchable despite the mumbo-jumbo of the sport in question, because they are built on a framework story that goes beyond the particular sport. Here it is a mentorship story (I think). A team called Durham Bulls is playing lousy, but has a talented player, a pitcher I learned it is called, by the name Ebby Calvin LaLoosh (Tim Robbins). As this talent is hiding, the owners (?) of the team has found an older player called Lawrence "Crash" Davis (Kevin Costner) to mentor Ebby. Ebby is not terribly smart and Crash is a bitter man who (I think) did not quite make it, so they are hitting it well.

The love interest of the movie is Annie Savoy (Susan Sarandon) who is some sort of baseball groupie. I did not understand half the things she said, but understood she takes on a new player as lover each season and this one it is either Ebby or Crash. A good chunk of the movie is devoted to this triangle. There is also another girl, Millie (Jenny Robertson), who is less selective who on the team she takes to bed.

Crash’s methods are of course unorthodox, but they work and Ebby, now sporting the name “Nuke” makes it to a big team, which means there is no real need for Crash anymore.

Of course, a lot more happens but I did not understand much of that. The ratio of sports stuff to general stuff is very high here, much higher than normal, which likely pleases fans of the sport to no end, but is frustrating to the rest of us. There is an underlying celebration of fandom to the sport, of people who go all in for it, even if they are no good at it or just spectators. In that sense, it could have been any other sport, now it just happened to be baseball. The characters hang so much of their life, purpose and interest up on the sport and it is as if the movie asks if this is a fantastic thing or perhaps a bit problematic.

I feel it is difficult to discuss the movie, because I am obviously missing so much of it. The decision of Annie to go with Nuke or Crash seems tied to their endeavours in the games... maybe. I sense she sees them as her price, as if she is winning something by having a successful player under her control and, following that, it annoys her no end when they are not complying with her. Maybe that is a lesson to her, maybe she needs to grow up or find something in her life that is less connected to baseball.

Same thing with Crash. The bitterness he feels could be linked to almost making it, but it could also be that he feels manipulated and powerless to avoid or resist the control of other people. The team owners and Annie may here be the same thing, but I could be entirely wrong. In the end, certainly, Crash and Annie seem to find a kindred spirit in each other.

I have no idea if this is a good sports movie. I will let fans of the sport decide that. Susan Sarandon is usually watchable and Costner is... well a matter of taste. I cannot say he is doing anything wrong here. “Bull Durham” is not a movie I remember from my youth, and I would not be surprised if it was never released to cinemas in Europe. Baseball is practically non-existent here. I did not feel much smarter watching it, but I am clearly not the target audience.

 

Working Girl (1988)

 

My wife Wants me to See this: Working Girl

For my new category of “My Wife Wants Me to See This”, my wife recommended me to watch “Working Girl”. She loves “women at work” movies and “Working Girl” is supposed to be the mother of all those movies. Sort of a “The Devil Wears Prada” long before that was a thing.

Tess McGill (Melanie Griffith) is a woman of modest origin who takes the ferry every day from Staten Island to Manhattan to work. We learn early on that she does not hold a job long and that this may have something to do with that she does not accept the bull she gets exposed to. She really wants to climb the corporate ladder but all she gets a chance for are secretary jobs. As an example of the exploitation she is exposed to, she goes to what she thinks is an interview but instead gets hit on by a hot-shot businessman in the shape of Kevin Spacey in a oddly prescient role.

When she lands a job as secretary for the young and powerful Katherine Parker (Sigourney Weaver), Tess thinks this might be different. Katherine speaks very finely about mutual trust and about supporting each other, but when Tess submits an idea to her, Katherine runs with it and claims it as her own. Tess only finds out about it when Katherine breaks her leg skiing in Europe and is away for weeks.

This is where Tess takes it upon herself to exploit her idea and pretends that she is an authority person of the company. She gets a business partner, Jack Trainer (Harrison Ford), who happens to be Katherine’s boyfriend, on board and starts navigating the high seas of finance. This all works surprisingly well until Katerine returns a little before expected.

“Working Girl” is built on the framework of a romantic comedy and a classic eighties version of those. This means that it has story arc, protagonist types, crises and the lightness of tone in common with most rom-coms of this era. There is even a transformation element. It is the content that is filled into this skeleton that makes “Working Girl” special.

The two main elements are the glass ceiling on the workplace and what is permissible in order to break that glass ceiling. Tess hits the glass ceiling in three different ways. She is a woman and in this movie all women except for Katherine Parker are lowly assistants/secretaries while the men are all high-powered businessmen. The patriarchal world order. Secondly, she has training, but her training is not prestigious and without an elite university/college degree, she constantly sees herself bypassed. Thirdly, her background is modest, which is not in itself a problem on the job market, but she is held back to her lowly origin by friends and family. They see her as an opportunist who forgets where she comes from. Which of these elements are the more important is not so relevant. We learn that the combined effect is an almost impossible barrier to breach.

When Katherine breaks the trust and reveals herself to be just as bad, if not worse, than her make counterparts, Tess finds the excuse to bend the rules. How far can you then bend those rules? We understand that Katherine Parker is a bad boss and probably deserves a knock or two, but is it okay what Tess is doing? She is essentially assuming Katherine’s role. She is engaging a business partner (Jack) on what is basically a whim and makes him work long hours for it and she bypasses normal channels to crash a wedding to make her pitch for the potential client. This is not just bending the rules, this is a loose canon running wild. Because this is a movie, we like Tess and allow her more room, but objectively, you must weigh the unfairness of the glass ceiling with the anarchy Tess is unleashing.

Two of her victims, Jack and the client, forgive her with the understanding that the values she represents are good. Hey, why stick to rules if breaking them helps you get somewhere? Yet, there is something disturbing about it. It is a rom-com and the permissible space is larger than in real life, but for many people in the workplace, this is a very real situation and reality is less forgiving.

This is “Working Girl”’s contribution and why this is more than just another romantic comedy. Of course, it helps that it is well acted and fun to watch and certainly one of those movies that are worth repeated views.

My wife identifies quite a bit with Tess McGill and I understand why she loves this movie. I like it too.

 

The Vanishing (Spoorloos) (1988)

 

Spoorloos

“The Vanishing” (“Spoorloos”) was not exactly what I expected it would be. I thought this would be sort of a True Crime thing with a lot of police procedure or perhaps something like the popular TV show (called “Sporløs” in Danish, the direct translation of the Dutch “Spoorloos”) where missing people are traced. The opening may well lead us in that direction, but, man, this takes a left turn!

Rex (Gene Bervoets) and Saskia (Johanna ter Steege) are a young, Dutch couple taking a vacation to France in their shabby old car. We have an early incident where their car runs dry on gas in a tunnel and Rex leaves a screaming Saskia alone to get some fuel (Saskia will not leave without a flashlight). She is upset and Rex promises never to leave her alone again.

They stop at a gas station where Saskia wants to pick up some drinks and she never returns. Rex cannot find her anywhere.

In a normal police procedure movie, we would now start the chase for the missing person. The puzzle, the interviews, the clues. Here, instead, we go straight to the perpetrator, and we are not for a second in doubt he is the guy. In fact, we go some time back in time and learn how Raymond (Bernard-Pierre Donnadieu) slowly practices the abduction. How he tests the drug and time the elements. His early attempts are almost comical as they abort for silly reasons and him being a terrible amateur, but he is persistent and, as we learn, eventually successful. We also learn that he is a family father and to all outward appearance, normal.

Jump three years and Rex is still looking for Saskia. He has a new girlfriend, Lieneke (Gwen Eckhaus), but that is not really working as Saskia is always foremost in his mind. Rex gets postcards from someone who want to meet about the abduction, but that person (Raymond) is never there. Finally, Raymond shows up at Rex apartment in The Netherlands, offering to tell Rex what happened to her, but he must come along with him to France.

This is where the story gets really weird. Along the way, Raymond tells Rex all about why he does things, essentially to prove fate is not inevitable, with plenty of detail from his life. When they get to the fatal rest area where Saskia disappeared three years earlier, Raymond is offering Rex to experience what she did. He just needs to drink a cup of spiked coffee. Yeah...

The point here is that this is not a police procedure film or even about searching for a missing person. Instead, these are two other stories. One is about being so devoted to another person that you will literally do anything for that person, even when it becomes extreme. Rex promised Saskia never to leave her alone again and that is serious business.

The other story is that of a psychopathic murderer who kills from a principle, simply to prove a philosophical point, that he can break destiny. That he also does that with impunity just makes it even more distressing.

This can be classified as a horror movie, partly because the vanishing of a loved one is anybody’s worst nightmare and partly because the manner of the murders is truly horrific. I recently read a short story by Edgar Allan Poe on this very theme, and it gave me the creeps. There is also something very unresolved that adds to the terror. That two people can disappear, and nobody will ever learn what happened to them.

I found it a frustrating movie. I may well recover from the disappointment that it just skipped everything that is cool about a missing person story, but that entire journey to France by Rex and Raymond is totally surreal. Who in their right mind would go along with that? And why on Earth would Rex accept that choice Raymond is giving him? I do not buy that bullshit about Raymond having figured out that Rex must accept. Raymond may think so, but Raymond is nuts. Rex is supposed to be a mentally sound person. It makes no sense.

The surrealism also clashes with the ultra-realism of the filming (or maybe simply becomes extra surreal because of it). The texture of the movie is what you get with a cheap video camera, as if this was found footage rather than design.

“The Vanishing” was intended to be the Dutch submission for the Best Foreign Language Academy Award, but it was rejected because there is more French than Dutch in it. Guess it is not a foreign language then...

I am weirded out by this movie, so I am not certain this is really a recommendation, but it is certainly something different.