nickysnichols

[nickysnichols]

@hotvintagepoll would you like to evangelize?

[nickysnichols]

[chewing on your inbox just because >:3c]

here have a mini poll to make up for the long absence of the scrungles

"wait why these weirdos" because i was devestated at the loss of all of them thats why. have you seen john qualen. have you seen him

[nickysnichols]

There are lots of people in the notes saying they haven't seen any but they want to, and I've watched Akira Kurosawa's whole filmography, so here is my

Guide to the Kurosawa/Mifune collaborations

ordered by runtime (starting at 1 hour 28 minutes)

Rashomon (1950) is one of my all time favorite films. It's the story of a crime from multiple, conflicting perspectives, that ultimately questions the nature of both truth and humanity. It's got a small cast and a tight runtime, so it's grounded by strong performances and beautiful camera work that highlights power dynamics in a way that makes me feral. And for the horniest of you: Mifune is half naked the whole time.

Snow Trail (1947) is only written by Kurosawa, not directed, but I'm including it anyways because it's Mifune's film debut and, while his character is a bit of a bastard, he's unbearably beautiful in it. This is young Mifune at his prettiest, with his one lock of hair as an additional paid actor. 3 robbers hide out at an unsuspecting mountain inn while on the run from the police, and have to make increasingly desperate calls to evade capture. It ratchets tension up well as the story goes on, and it's a strong start to a prolific career.

The Quiet Duel (1949) sees Mifune as a tragic hero-- he's a doctor who accidentally gets syphilis from a patient during a difficult operation, and then the rest of the movie is him suffering, virginally. This is Kurosawa at his most romantic, and when I think about it the first thing I remember is emotionally fraught walks by a beautiful wrought iron fence. "Not Kurosawa's best" is still a pretty high bar, and if you enjoy a quiet, doomed narrative it's well worth checking out.

Sanjuro (1962) is one of the more fun Kurosawa films! It's technically a sequel to Yojimbo, but you don't need to see them in order. In this, Very Cool But Kinda Scruffy Samurai Toshiro Mifune decides to help a stressed gaggle of men stop corruption in their clan after their uncle is kidnapped. It has some genuinely funny moments while the group plans and Mifune is mainly bemused or tired, and the action sequences are exciting. I am part of the minority who prefers this film to its predecessor, largely because I find the final fight incredibly poignant.

Drunken Angel (1948) is the first Mifune/Kurosawa collaboration, and it gives our boy tuberculosis and dancing scenes. He is too cool for school in the first half, being all sexy in a leather jacket and being in the yakuza, and then super sweaty in the back half because tuberculosis is bad for you, actually. The heart of this is the relationship between Mifune and Takashi Shimura, Kurosawa's most frequent collaborator, who plays his doctor. It's probably my least favorite of all 17 films I'm listing, but it is a powerful thirst watch.

I Live in Fear (1956) stars a scowling, 35 year old Mifune in old age makeup, because Kurosawa is halfway through his "every movie except Ikiru MUST star Toshiro Mifune" run (1948-1965) and he'll be damned if he hires an actor who's actually old instead of his best bud. This is his first movie about nuclear fears, it will not be his last, and honestly the title is pretty self explanatory. It's all family politics and legal arguments, all of it under the shadow of Old Man Mifune's fear that Japan will be bombed again. I love this movie.

Scandal (1950)! Two beautiful celebrities are photographed in a hotel together! Motorbike Mifune files a libel suit after a tabloid drags his and a shy singer's names through the mud. They're both beautiful and righteous in a way that can dip into melodrama (only spurred along by the vaguely sketchy lawyer Mifune hires whose kind, sweet daughter has tuberculosis), but as a fan of legal dramas I thoroughly enjoyed this one.

Yojimbo (1961) sees Mifune roll into a town at war with itself and decide that he's more clever than anyone there and he could mine some profit from the situation (he is and he can). It's one of Kurosawa's most beloved for many reasons, but I'm going to cite the crazed energy Tatsuya Nakadai brings to his villain role. The electricity between Mifune and Nakadai crackles whenever they're both on screen, and the stakes wouldn't feel anywhere near as high without those two actors.

Throne of Blood (1957) is Macbeth, and the magical parts make me yearn for a Kurosawa fantasy film (it would've been gorgeous). The sound design in this movie FUCKS, as does director trademark movement in nature (rain! fog! wind!). Mifune plays some characters very large, and our Scottish king Japanese lord is one of his largest, which feels extra fair at the end when they shoot at him with real arrows. If you like Macbeth, watch this, it's a really cool adaptation.

movies below here are over 2 hours

Stray Dog (1949) makes me, as an American, yearn for a country with with gun control. Young Cop Mifune has his pistol stolen and needs to get it back, especially when it's implicated in crimes afterwards. Another excellent Mifune/Shimura relationship strengthens this movie as it grows increasingly desperate. They're searching the slums in summer, it is sweltering and heat only adds to irritability. This is a film about consequences, and you can feel it close in around you, it's suffocating. Many people cite this as the film that kickstarts Kurosawa's career, and it does so with a bang.

The Hidden Fortress (1958) is THEE most fun film Kurosawa ever made. People were complaining "Akira, my dude, all your movies are depressing as hell," and he threw up his hands and said "you want a blockbuster? FINE. HERE." and delivered an exciting quest with an incognito princess, incredible fight scenes, and delightful comedic relief characters and Toshiro Mifune's thighs. This is a great place to start if you don't want to dive into anything too artsy off the bat-- it still has gorgeous, intentional cinematography, but it's also just a damn good time.

The Lower Depths (1957) is one of those depressing as hell films Hidden Fortress was made in response to. Everything is cramped, physically and emotionally, as we watch residents of a slum wish for better things and betray one another. This is an ensemble piece with an excellent cast, and Kurosawa's post-war pessimism is overwhelming. It's very well made, but I'll admit I'm unlikely to rewatch it in the next few years.

High and Low (1963) is both a literal and figurative title, looking at location as well as class and power. Successful Businessman Mifune is about to make big moves, and then a child is kidnapped and all of that goes out his beautiful floor-to-ceiling window. This movie is often remarked upon for how exciting its opening half is despite being mostly confined to one room, because Akira Kurosawa understand framing like no one else ever has. Mifune is a skillful actor here as he navigates exceedingly difficult choices. The tension remains taut throughout this movie's twists and turns, and if you like thrillers, this is a great choice to start.

The Bad Sleep Well (1960) is a loose Hamlet adaptation, and one of my very favorite Kurosawa films. Also, Toshiro Mifune is wearing GLASSES in this movie!!! And playing one of his most complex characters. The journey he goes on is mostly self motivated, which is uncommon, and the places it takes him are wide ranging. There are 2 scenes in this that make me feral--one around the halfway point, one near then end--and unfortunately that shuts down the eloquent part of my brain, all I could do would be to point at various stills and yell "LOOK!!" Just know that this movie bangs.

The Idiot (1951) is a Dostoevsky adaptation, and it is long and sad and beautifully shot. Mifune is not the titular idiot, he's a kinda violent friend who is another spoke in the multiple complex love triangles that make up the plot. I'm going to be honest, I was a little sleepy towards the end of this one so most of what I remember from the back half is "pretty!" It's not as high energy as some of his other films, but Kurosawa always earns his slowness through intentionality. Plus it has Setsuko Hara! If you want to sit in a relationship drama for a little under 3 hours and just let the emotion roll over you, take a soak in this.

Red Beard (1965) made me cry like a little bitch. Now THIS is some slow Kurosawa, we have 3 hours, 5 minutes, and a tenuous plot. This movie is simply watching certain people live their lives, centered around a poor clinic, over the course of a year or so. Sick people get better, or they don't, they form relationships, they feel loss, and the arrogant young doctor who was forced to come here learns what caring for others truly is. Toshiro Mifune is the rough older doctor who teaches him. This is such a deeply human film. It breaks my heart, and it makes me hope again. This is the final collaboration between Mifune & Kurosawa, who had a contentious end to their relationship partially because of this film, but it is nonetheless a touching send off to one of the strongest pairings in cinema.

Seven Samurai (1954) is the longest film in Kurosawa's filmography at 3 hours and 27 minutes; it is an epic in every sense. The plot is straightforward: 7 samurai are hired to save a village from bandits, and you are going to see every step of that process. Mifune is at his largest (he was inspired by lions), and you can't help but fall in love with his bombast. This film is Kurosawa's magnum opus according to pretty much everybody, and you have to admire the skill that goes into making something on this scale. At times haunting, at times victorious, it wants you to feel the full spectrum of human emotion by the end of its runtime. This movie doesn't even break my top 5 personal Kurosawa favorites, but I still have to admit: it's a masterpiece.

have you ever done a poll on which/how many toshiro mifune movies the electorate has seen? i always wonder if the toshirobus comes from a genuine love for his movies or if everyone just likes him from the meme of it all.

[nickysnichols]

[nickysnichols]

HIIIIIIIIIII MY FAVORITE MINISERIES THE 4 HOUR GERMAN EXPRESSIONIST SILENT FILM DIRECTED BY FRITZ LANG!!!!

This is its first intertitle, I feel it sets the tone fairly accurately! This movie is a commitment but WHAT A FUN COMMITMENT

[nickysnichols]

@hotvintagepoll

Loretta Young in The Call of the Wild (1935) dir. William A. Wellman

[nickysnichols]

Hi shh I’m not real (I am the roommate of the person this blog belongs to) BUT someone made the mistake of asking me for old movie recs less than a week ago so I have my whole thing typed out and accessible and since some people in the tags are asking for that in a general way…

Golden Age recs for A Friend Tumblr!

Starting with a warning about my personal biases: I am a film noir girlie through and through, I am also partial to a good screwball, and a lot of my favorites will fall in one of those categories. However, I will do my best to give you a more rounded selection! Therefore I’ll have 5 categories: pure classics (the critically acclaimed must watches), noir, screwball, movies by notable director, and miscellaneous at the end. In first three sections I’ll list roughly in order of “importance” (how famous, how much it defines a genre) not favoritism, but I won’t include films that I don’t love myself. In the director section, the films that I personally recommend the most highly will have the year after them. If one falls into multiple categories, I’ll only list them in one for streamlining purposes. I’m (mostly) limiting myself to American sound films from the mid 30s to late 50s- roughly the height of the Hays Code.

CLASSICS:

Casablanca

Singin’ in the Rain

Bringing Up Baby

12 Angry Men

Night of the Hunter

Roman Holiday

Rebel Without a Cause

The Day the Earth Stood Still (if you like this, check out Forbidden Planet)

The Adventures of Robin Hood

Harvey

Anatomy of a Murder

High Noon

SCREWBALLS:

The Thin Man (highly recommended the whole series)

The Lady Eve

Sullivan’s Travels

Libeled Lady

I Married a Witch

Pillow Talk*

Mr. Blandings Builds His Dream House

Bachelor Mother

The Farmer’s Daughter

My Favorite Wife

Rhubarb

Theodora Goes Wild

Jewel Robbery

*(this is a 60s sex comedy, which is a descendent of the screwball, but it technically came out in 1959 so here ya go)

NOIR:

The Maltese Falcon

Laura

Gilda

Mildred Pierce

The Third Man

Sweet Smell of Success

Night and the City

Out of the Past

Niagara

In a Lonely Place

Pickup on South Street

Bad Day at Black Rock

The Harder They Fall

(and then if you decide you really like the vibes and wanna continue, any Robert Siodmak is a good choice)

DIRECTORS:

Billy Wilder:

I cannot stress how much this man’s filmography slaps. He made some of the QUINTESSENTIAL noir, Double Indemnity (1944) and Sunset Boulevard (1950) define the genre. The Lost Weekend and Ace in the Hole are both a little darker, they’re excellent. He’s also really fucking funny, Some Like it Hot (1959) is one of the most classic comedies ever made, though I wanna mention One, Two, Three as one of his lesser known gems. There’s also Witness for the Prosecution, Stalag 17, The Apartment, Sabrina— I cannot emphasize how much this man does not miss.

Orson Welles:

Yes, obviously Citizen Kane has merit, but it’s honestly not a great starting point. The Magnificent Ambersons is ALSO beloved, but I think he’s at his strongest AND most watchable in his noir: Touch of Evil (1958) and The Stranger (1946) are both brilliant

Ernst Lubitsch:

To Be or Not To Be (1942) may be a perfect film. The Shop Around the Corner (1940) is annual viewing for me. He’s all about clever romantic comedies: Design for Living, Bluebeard’s Eighth Wife, and Trouble in Paradise are also delightful.

Frank Capra:

It Happened One Night (1934) is a defining screwball. Capra is known for feel-good movies, some more dramatic (Mr. Smith Goes to Washington), some comedic (You Can’t Take it With You), but I personally never have more fun than when I watch the delightfully over the top Arsenic and Old Lace (1944)

Alfred Hitchcock:

Good ol’ Alfie Hitch is a genre unto himself, I’ve seen 15 of his films at this point and I’m STILL missing major ones, so this won’t be balanced between what I like and notable classics, here are my completely subjective 4 favorite Hitchcock films! In order: The Man Who Knew Too Much (1956) (he also made this film in 1934. Do not watch that one.), The Trouble with Harry (his only comedy!), Shadow of a Doubt (noir), and Rear Window (actually a classic Hitchcock film)

Joseph L. Mankiewicz:

ALL ABOUT EVE (1950)!!!!!!!!!! That’s essential viewing. I also really enjoy A Letter to Three Wives, No Way Out, and Somewhere in the Night (which is pure noir)

George Cukor:

The Philadelphia Story and Gaslight are both good, and two of his most lauded, but my favorite of his is UNDOUBTEDLY Holiday (1938)

John Huston:

I would be remiss not to mention him, The Treasure of the Sierra Madre (1948), The African Queen, and The Asphalt Jungle all come up when you talk film history

Howard Hawks:

I know I said I wouldn’t repeat any but seriously watch Bringing Up Baby (1938). He’s all over the place but he’s good at genre films: His Girl Friday, Gentlemen Prefer Blondes, To Have and Have Not

MISCELLANEOUS:

It’s doesn’t really count as a classic because nobody has heard of it, but I highly recommend One Way Passage (1932)

Gene Kelly Musicals:

Anchors Aweigh

For Me and My Gal

Summer Stock

The Pirate (must a movie be GOOD?? is it not enough to be camp??)

Horror (goofy, the good stuff is overseas, watch Vampyr):

Cat People

Creature From the Black Lagoon

Bride of Frankenstein

Mystery of the Wax Museum

All The Best Christmas Movies Are Comedies From The 1940s:

Miracle on 34th Street

Christmas in Connecticut

Holiday Affair

I’m sorry if someone’s asked this before but do you have any vintage movie recommendations? Like what are your favorites

Yes I have tons! But I'm holding off posting them because I don't want to accidentally influence the bracket in any way. If I posted a list when the big tournaments are done, would anyone be interested?

[nickysnichols]

Bob Fosse (June 23, 1927 – September 23, 1987) 

[nickysnichols]

Liza Minnelli in a publicity photograph for director / choreographer Bob Fosse’s musical drama film Cabaret (USA, 1972) | ABC Pictures / Allied Artists

[nickysnichols]

The Hunger Games: Mockingjay – Part 1 (2014), dir. Francis Lawrence

[nickysnichols]

On the night I feel that thing again, the hunger that overtook me on the beach, I know this would have happened anyway. That what I need to survive is not Gale’s fire, kindled with rage and hatred. I have plenty of fire myself. What I need is the dandelion in the spring. The bright yellow that means rebirth instead of destruction. The promise that life can go on, no matter how bad our losses. That it can be good again. And only Peeta can give me that.

[nickysnichols]

Chloë Sevigny photographed by Thomas Whiteside for Harper’s Bazaar Russia, November 2017

[nickysnichols]

[nickysnichols]

Le notti di Cabiria (Nights of Cabiria) 1957 dir. Federico Fellini

[nickysnichols]

black lives matter and pride are intrinsically linked. the black trans community have done so much for us, we owe it to them to not forget their movement this month. without black lives, there would be no pride. black lives matter, today and always

[nickysnichols]

i still have a chance with lorna.

[nickysnichols]

Clea DuVall in But I’m a Cheerleader (1999), dir. Jamie Babbit.