Decoupage has written 9 reviews for films rated ★★★★ .

  • Temptation

    Temptation

    May-September romantic thriller starring Shin Saburi as a 40-something married politician with kids hooking up with Setsuko Hara playing his early 20s nanny fresh out of college. Really I want to call this a masterpiece, but I just can't because there are too many flaws despite some truly breathtaking cinematography and scenes. Still a fascinating film and worth checking out.

  • No Regrets for Our Youth

    No Regrets for Our Youth

    Setsuko Hara stars as the only female protagonist in Kurosawa's entire oeuvre, and she gives a commanding performance. Yukie Yugihara in the rice paddies personifies the place where the spirit of indomitable will resides.

  • What Did the Lady Forget?

    What Did the Lady Forget?

    What Did the Lady Forget? might mean What Did the Lady Not Already Understand? and have more to do with the opposite-approach or opposite-opposite approach conveyed near the end of the film, but either way this breezy little flick is one of Ozu's most charming and fun, lighthearted films. Michiko Kuwano kills it as my 1930s Japanese movie star crush, check her out sometime in Hiroshi Shimizu's masterpiece road film Mr. Thank You. She might offer you booze.

  • An Inn in Tokyo

    An Inn in Tokyo

    Whereas Ozu's other silent masterpiece, the original silent black-and-white version of A Story of Floating Weeds (1934), was his first true work of art, this his last surviving silent film, An Inn in Tokyo (1935) goes beyond art. Tokyo no Yado was neorealism a generation before the Italians supposedly invented neorealism. Revolutionary experimental filmmaking.

    The ending kinda falls apart to be honest, but the rest of the film contains truly beautiful scenes of human misery and survival (the father and…

  • Tokyo Chorus

    Tokyo Chorus

    The first great Ozu movie (which means Tokyo Chorus is in his third or fourth best group of films). Ozu's signature visual style isn't quite developed yet for a couple more years, but this is the film where he found his voice. It's a family picture told through the eyes of the parents. Tokihiko Okada and Emiko Yagumo star as the lead actor and actress; both were perfect in their roles.

  • Nobuko Rides on a Cloud

    Nobuko Rides on a Cloud

    ★★★★

    Haruko Wanibuchi with maybe the single greatest child acting performance of all-time. She has a smart and clever look about her, displays tremendous range, this isn't your normal cute and funny child actor hamming it up for the laughs. She plays virtuoso violin while pirouetting with ballerinas at the end of the film. Superlative.

    Setsuko Hara co-stars as her mother, but the great actress is really just in cameo mom mode for most of the film.

  • Dragnet Girl

    Dragnet Girl

    ★★★★

    Exquisite parody or at least somewhat self-conscious noir. Excepting for some uneconomical scenes with Kazuko and her brother, if you don't take the film too seriously it's really a blast.

    Kinuyo Tanaka was brilliant, and her character Tokiko's psychotic nature are really the key to unlocking the film.

  • Tokyo Chorus

    Tokyo Chorus

    ★★★★

    Great silent film from Yasujiro Ozu, pretty much the first "Ozu pic".

    The director and actors perfectly capture family domestic life in both comedic and dramatic ways. The father-son relationship with Tokihiko Okada and Hideo Sugawara previews some elements of Ozu's subsequent masterpiece, I Was Born, But ...

    Without question, Okada was a better dramatic actor than Ozu's other leading man, Tatsuo Saito, but you can see how Okada was a perfect fit for this film, while Saito was better…

  • Walk Cheerfully

    Walk Cheerfully

    ★★★★

    One of my favorite early Ozu films, with its kindhearted, stylish, genre blending approach.

    Yes it's nominally a crime film, but there are no real gangsters here. It's just cinematic pastiche, a small-time gang of hoodlums whose leader has a crisis of conscience. Kenji falls for the good girl Yasue. You get the feeling that Ozu finds the flashy Westernized characterizations attractive, but he's really an old-fashioned sentimentalist at heart. The final clothesline shots are as Ozu as they come.