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Siggy-O
In truth, paranoid schizophrenic.
Nikkei living in Japan. He has been seeing a psychiatrist for a long time, so he is totally crazy.
Fantasised since childhood and a bit of an idiot.
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Reviews
Sweet Movie (1974)
Cultish, too cultish.
There is no doubt that this macabre and insane film directed by Makavejev is more eccentric and perverse than any other film I have ever seen. But some might argue that it is less artistic than cult movie gems such as "Eraserhead" and "El Topo." But, as a kind of quirk, Makavejev's special trick is not to make a simple cult film, but rather to include a lot of spectacular "Makavejevism" that is not found in the usual anti-commercial cinema conventions, and that will appeal to most discerning moviegoers.
Above all, it is an unprecedented experimental musical film, and while not exactly good for one's mental health, it is inevitably a remarkably captivating cinematic experience. However, there are numerous scenes that the average parent would not want their children to see, or that would be banned today, and many of them are offensive. And while the occasional insertions of abominable images from the past transform the film from a Bizarro dreck into a highly artistic drama, it is inescapable that they have an almost narcotic effect while at the same time committing a blunder.
Rupan sansei (1978)
A great thief, a beautiful woman, a samurai, a gunman and a madman.
A cult animation classic that still has a devoted fanbase in the Japanese animation world. Compared to its follow-up, The Castle of Cagliostro, the backstory of Lupin III is so neglected that it is hard to believe that they are the same character, so it is not surprising that the film is considered to be about a different character.
Lupin is intrigued by a female thief and spy, Fujiko Mine, and manages to steal the Philosopher's Stone from the Pharaoh's tomb in Egypt, but Fujiko uses it as a contract for her criminal business.
The man who gave the order was a mysterious man called Mamo. Calling himself 'God', the madman has been alive for 10,000 years, having invented a 'copy man manufacturing method'. On his Caribbean island, he owns human replicas of Napoleon and Hitler. And there are men working on humanity's dream of 'eternal life'. ............ Lupin's battle with Mamaw, his greatest enemy, comes to a surprising end.
Perhaps the greatest masterpiece of Japanese animation, with its surrealist and experimental elements, it was more popular than The Castle of Cagliostro at the time, but its reputation has now been reversed.
A Clockwork Orange (1971)
This is art.
As far as I am concerned, A Clockwork Orange is one of the greatest films ever made. With this 'work of art', Stanley Kubrick elevated cinema to the level of Michelangelo's art.
At the boundary between pornography and art, it is the so-called 'sexual depiction' that hinders or complicates the evaluation of a film.
In this respect, A Clockwork Orange, unlike The Realm of the Senses, does not appear at first glance to be significantly sexually explicit.
However, despite being a hypersexual and incendiary coalition of images, the film itself appears elegant thanks to the perfectionism of the script, make-up, Beethoven's music, interiors and furnishings, futuristic furniture and production design. And it is sculpted to perfection by the technique and imagination of the entire film crew. This is also due to the zoom-outs and extreme filming techniques.
A Clockwork Orange is both pornographic and artistic, but never vulgar.
Nevertheless, the film seems grossly underrated when compared to the work of Charles Chaplin and Jean-Luc Godard.
Moreover, despite the fact that a film is not a masterpiece without great performances by its performers, there are hardly any 'weepers' or 'sentimental performers' in this film.
This is Kubrick's perfect self-defence, creating the stereotype that 'films are for directors'.
Sighingly vivid, beautiful, sometimes violent, sometimes maddening, this 136-minute film feels like stepping into a photographic exhibition.
It is a visual demonstration of Kubrick's great sense of photography. Every scene, every still, is a collection of A-grade photographs. There is no other film like it.
Un chien andalou (1929)
Collaboration of a Genius in Painting and a Genius in Cinema
One of the best short films since the 1920s. The production team includes the genius and paranoid painter Salvador Dali and the master of Surrealist cinema Luis Buñuel.
This '16 minutes of mystery, monstrosity and brutality' has been transformed into an artistic surrealist film that is enough to make us feel uneasy, shudder, fear and madness. This is similar to Jacob Böhme's 15 Minutes of Mystical Experiences.
Not only is it a masterpiece, but its influence on later generations, including David Lynch, Jan Svankmajer and Guy Maddin, is immeasurable.
The scene in which a razor blade cuts through a human eyeball is, in fact, one of the greatest depictions in the history of black-and-white cinema. This kind of brutality and experimentation was later recreated by Kenneth Anger and cited by Pasolini.
The film had a profound influence on what is called Japanese animation and C-grade cinema, eroticism and grotesque nonsense.
The intense visual experience of Un chien andalou is more than enough to extenuate the sins of Luis Buñuel's almost-failed films that followed, and none of Buñuel's films surpass this one. However, the visual situation of Buñuel's later years has been enlightened to a kind of "sacerdotal" status.
Perhaps the best critics, unless they are very cynical, would list it as one of the best short films of all time.
Close Encounters of the Third Kind (1977)
S.S.'s Sci-Fi's Masterpiece
A classic, poetic, abstract, or visually simple, colorful, chaotic, and austere sci-fi drama "Close Encounters of the Third Kind" is far more accessible to the layman than the esoteric and world-famous "2001: A Space Odyssey,". Steven Spielberg will probably never make another film that surpasses it in his lifetime.
The man who directed the most childish, kid-friendly science film ever made, "E. T.," and made the abominably charming sci-fi thriller, "Jurassic Park," has created an early masterpiece that shows off its realism and experimentation with scenes that are "probably unnecessary," at least for adults.
Boring, perhaps, but don't underestimate the full scope of this film. While it references many films (from "2001: A Space Odyssey" to Toho's "Godzilla," of course), it is largely based on Spielberg's own experiences, making it the greatest autobiographical monument in his history.
Since the 1980s, science fiction has been dominated by entertainment-first magic, CGI-driven films with strong elements of combat and fantasy such as "The Terminator," and the valuable tradition and value of "abstractionist" cinema has been completely lost. On the contrary, we are seeing more and more films of extravagant scale, as exemplified by the "Avatar" series.
I think it is very significant to re-screen this film." While "Star Wars" fever may still be high, critically, "Star Wars" is lowbrow.
And let me assure you that Spielberg has not become a "box office charisma" like James Cameron.
Spielberg's contemporary, Ridley Scott's "Alien," is an unforgettable film.