By Danny Peary
Cult Sci-Fi videos is a suite of 10 essays that learn, dissect, protect, and exalt the greats of vintage cult sci-fi motion pictures. movie geeks, cinema snobs, VHS creditors, and an individual else who likes their leisure a bit at the bizarre part will have fun with writer Danny Peary’s in-depth method of their favourite sci-fi motion pictures starting from Barbarella to Liquid Sky.
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Overview
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Extra info for Cult Sci-Fi Movies: Discover the 10 Best Intergalactic, Astonishing, Far-Out, and Epic Cinema Classics
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26 As with both One Wonderful Sunday and, to a lesser extent, Drunken Angel, Stray Dog uses location to extraordinary effect – credit for which Kurosawa was keen to bestow upon his assistant director, Ishiro Honda, who would go on to greater acclaim as the creator of the Godzilla movies. Kurosawa explained, ‘I’m often told that I captured the atmosphere of post-war Japan very well in Stray Dog, and if so, I owe a great deal of that success to Honda,’ who took a hand-held camera in a box to a real black-market neighbourhood that ‘even newsreel cameramen couldn’t shoot 56 Stray Dog.
Following a short hiatus with her parents, Yukie decides to visit Noge’s parents, peasant farmers in the countryside, to see what she can do to help them. Overcoming illness and persecution at the hands of neighbours who would condemn the family of a so-called spy, Yukie attains a kind of wisdom. Although regarded by some as a lesser Kurosawa (Galbraith calls it ‘a mixed bag’40), No Regrets for Our Youth is notable for several reasons, most particularly that it builds on what we have glimpsed in his films up to this point: that Kurosawa is less interested in the context of a situation than in the dramatic opportunities it opens up.
12 Take the use of flashbacks as an example: after Tsuru is accused of favouritism, we glimpse images which illustrate her true selflessness. These scenes are extremely short and it is in their brevity that we glimpse Kurosawa using the past almost as a form of dialogue. Kurosawa employed this technique, finessing it with each use, in Ikiru, Rashomon and High and Low as well as in Red Beard (though to a lesser extent). The Most Beautiful also shows a director already willing to puzzle his audience and make them work things out for themselves.