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Haven't seen BREAKING THE WAVES yet, but in response to Dr. Greenberg:
 
First, PAGE OF MADNESS by Kinugasa (spelling is important, after all).
Second, woman redeeming a feckless man who gets martyred or at least not
happy in the process is a staple of Japanese literature and film.  For
instance, Mizoguchi's 1939 classic ZANGIKU MONOGATARI (Story of the Last
Chrysanthemums) and other Mizo films.  From literature, this may be found
in the works of Izumi Kyoka.
 
David
 
At 9:02 PM 1/13/97, HR Greenberg wrote:
>For a piece I'm working on about BREAKING THE WAVES.
>
>lst: I was struck by the frontality of the film. The only other movies I can
>remember with so many whip pans are Kanegusa's PAGE OF MADNESS and NIGHT AND
>FOG IN JAPAN by Oshima. I estimate that at least 7-80% of BREAKING THE WAVES
>was done in whip-panning/close up (which by the way if you haven't seen it
>yet and have a motion sickness problem you need to sit way back and/or wear a
>dramamine patch).
>Relatively few long shots in this film. Does this accord with others'
>experience? Any sense why -- I have a few ideas. Haven't seen ZENTROPA for
>awhile, can't recall similar strategy, havent seen other Van Trier films so
>don't know if he does this regularly or not.
>
>2nd: Need list of associated films where a woman redeems (more or less) a
>feckless man (men)) with the intense purity of her love. maybe gets martyred
>in the process. Soap opera staple, but do any better examples of the breed
>come to mind? I can think of  -- at this moment -- PASSIONE D'AMORE by Ettore
>Scola; LETTER FROM AN UNKNOWN WOMAN; JANE EYRE (maybe); THE PIANO (possibly
>not): JOAN OF ARC (various versions), so forth.
>
>Any help greatly appreciated!
>
>Harvey Roy Greenberg MD  ([log in to unmask]
>
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