Un Coeur En Hiver

A Heart in Winter - a Romance in Facade....

"In speaking, one risks sounding stupid. Not speaking, one may appear intelligent."

"Maybe one is simply afraid...."

One of my favourite lines in the film, it underlines the relationship between Stephane and Camille as they try to meander a path towards a chance for love - unfortunately never as one, always in twain....

And thus it begins. A violin maker, Stephane (Daniel Auteuil), is introduced to his partner's new muse and girlfriend, upcoming violinist Camille (Emmanuelle Béart).

From a professional relationship tending to the strings on Camille's violin, the emotionless and reticent Stephane slowly and unwittingly draws the beautiful Camille into a web not of flame, but of an empty black hole.

All the passion in the world cannot ignite poor Stephane's cold, cold heart, and it is Camille's that is left ultimately shattered - not because Stephane would not receive her love - he does not know how....

The immaculate, the beautiful Emmanuelle Béart as Camille - enchantée....

And Daniel Auteuil is Stephane, the emotionless heart in winter....

André Dussollier plays Maxime, the butler to Stephane's and Camille's romance. 

I seem to have a thing for romantic films with unfulfilled, or unrequited love. The 1992 film, A Heart in Winter, has now topped the list with a tour de force in non-romance and no-end-result.

Not that it matters as it is the process, not the consequence, that engages us. The looks each gives the other, the distant pining, the expressionless Stephane and the emotionally frustrated Camille....

The story may be touted as a love triangle, but make no mistake about it, even if André Dussollier performs well as Stephane's business partner and Camille's initial love interest, the film is about Stephane and Camille. 


The silence, the tension, the seemingly impassable void between them; the storm that brews when they do try to connect - the world just stops spinning and centres on Stephane and Camille whenever they are in the same room. 

First Attraction

Then, a walk in the rain....

And the last hurrah.

If you fancy a light-hearted romp of a romance, then this is certainly not the film for you. But if you can appreciate a story with intricate emotions, played out over the music of Maurice Ravel; and if you allow it to breathe - like a glass of very fine wine - then it might just simply take your breath away.

As it did mine.

Alone again, naturally....

Moometer Reading:
Moo-oo-o..!!!

Exclamations for:

! Outstanding Actor: Some might argue that it is easy to play a role where little expression is needed. But it is the conveyance of an emotion in such little breadth of expression that takes a master to accomplish. Daniel Auteuil here does this exceedingly well - although if you were to ask me - I have no idea why. He just does....
! Outstanding Actress: But the kudos go to the ever lovely Emmanuelle Béart. She is the opposite of Auteuil. The way she juggles her feelings of desire, frustration, her own coolness, her slight smiles, her concentration in music, those soulful eyes, those lips, the warmth and passion she exudes, et al - it is simply beautiful to watch. I will freely admit I am somewhat biased in my adulation for Béart, but how can I help myself?
! Outstanding Chemistry: The entire film makes or breaks on the chemistry between Auteuil and Béart, so this is certainly worth a shout. Never have I seen such romantic tension between two characters who never really do make out. An excruciating, yet exhilarating, experience....

Top 10 Samurai Films

After sitting (and at times sleeping) through a bunch of notable and classic Samurai films, including the disappointing Lone Wolf and Cub series, it finally dawned on me - that if a Takashi Miike (who created the sensational Ichi The Killer) fails to make the grade - then I basically do have a respectable top ten after all.

First off - absolutely no prizes for guessing which comes out top. It's a no contest - no other film even comes close. The good news though is that the rest of the spots are up for grabs.

In order to compile this list, I had to make a conscious decision to exclude films with ninja, and by extension, fantasy (or supernatural) themes or elements. So no super ninja powers, demons or chi sweeping blades etc. Dazzling swordplay is still okay though.

Anyway, without further ado, here is the Top 10 List of Samurai Films that I have had the pleasure of viewing:

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#10. Red Sun (1972)

Director: Terence Young

Starring: Charles Bronson, Toshiro Mifune, Ursula Andress, Alain Delon

Probably no spot has been more fiercely contested than the #10, and this will certainly prove to be controversial.

It was my original intention to exclude The Last Samurai from the Top 10 list, but due to the scarcity of suitable candidates, the nauseating Dances With Wolves parody had indeed occupied this spot in the final drafts.

So how came this Western, and can it even count as a Samurai film? Well it has one samurai in it, played by the legendary Toshiro Mifune no less. More importantly, the film also serves to give a better representation of the samurai, so to me it qualifies - kind of....

But did you see the rest of the cast list? Charles Bronson, Ursula Andress, Alain Delon - the list dazzles. What strikes the cord however, is that the film takes the best known traits of both cowboy and samurai (stereotypical as they may be), and meshes them together to create an intriguing and satisfying chemistry between the two leads (Bronson and Mifune).

To be honest, it feels a bit like a slap in the face for The Last Samurai to be unseated by Red Sun. As epic a production  as The Last Samurai may be (and it isn't a bad film), you can't run away from the poster boy portrayal of Tom Cruise, and the stiff, politically correct relationship between Cruise's character and Ken Watanabe's character. All these actually make an otherwise breathtaking movie actually DIFFICULT to watch.

Ultimately, Red Sun makes the list, and I'm proud to say that it's not because I purposely want The Last Samurai out, but because to put simply - it is a better film.

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#9. The Sword of Doom (1966)

Director: Kihachi Okamoto

Starring: Tatsuya Nakadai, Toshiro Mifune

This is one of the few latter films I watched that I feel qualifies for the Top 10.

The story of an amoral swordsman's descent to insanity always has its attraction in the media. 

Originally conceived as the first part of a trilogy to follow the novel of the same name by Kaizan Nakazato, I am nonetheless quite relieved that the producers stopped at one. Not because it is bad, but because I frankly want the depravity to stop.

The anti-hero Ryunosuke Tsukue is not necessarily evil - but he is unfeeling, cruel, nihilistic and remorseless. It's not even that he is selfish - he just simply does not care - for others, for society or even for himself.

Couple that with his unparalleled swordsmanship, and you have a killer who will slay both friend and foe without compunction.

The opening scene itself underlines his character and is probably worth the price of the ticket alone. The cliffhanger ending on the hand provides a cathartic conclusion that is open to interpretation (and that never made sequel).

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#8. Ran (1985)

Director: Akira Kurosawa

Starring: Tatsuya Nakadai, Mieko Harada

When I first laid hands on a collection of Akira Kurosawa films, I failed to catch Ran even though it was among the collection, namely because the film lacked subtitles. I only caught the film many years later, as I was experiencing samurai entropy from all those research I was making to compile this list.

(Ironically this meant that Ran was never part of my very first Top 10 - see my Top 10 Wuxia post)

I suspect that is why Kurosawa's most expensive film ends up on a modest #8, even though it was critically acclaimed and actually won an Academy Award for Costume Design.

I will readily admit that I found Kurosawa's (semi-accidental) adaptation of King Lear to be rather tedious to watch. Nonetheless, the sweeping epic, colour and cinematography more than make up for the film's plodding and convoluted plot. And even in spite of that, Kurosawa's direction shines through with poignant detail - best exemplified by the array of his character's - Hidetora's clown, Lady Sue's blind brother etc.

And at the centre of it all is Tatsuya Nakadai's portrayal of the emancipated, old warlord Hidetora wandering the fields of chaos like a ghost, bereft and betrayed - by his children. 

To say that Nakadai's performance is haunting and symbolic of the film (and even of Kurosawa) itself,  is well - nothing more needs to be said really.

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#7. Taboo (1999)

Director: Nagisa Oshima

Starring: Ryuhei Matsuda, Tadanobu Asano, Takeshi Kitano, Shinji Takeda

A gay Samurai film? What will they think of next?

In truth however, Taboo, or Gohatto (in Japanese), is a powerful film with an impressive cast and intriguing storyline, led by the veteran Takeshi Kitano, and introducing the then 15-year-old Ryuhei Matsuda (I hadn't known that!) as the effeminate and good looking samurai who, unwittingly or otherwise, brings chaos to the fearsome Shinsengumi. 

The ensemble cast is excellent, portraying several historical Shinsengumi members, plus the few fictional ones, with panache and finesse. Nowhere I think, have the members of elite police group from the Tokugawa Shogunate era, been better or more humanely portrayed. There is good humour, camaraderie, chemistry, even rivalry amongst members, plus the odd buffoonery or two.

Taboo succeeds in providing a rather realistic and engaging view of the Shinsengumi while reflecting on the histories that affected the group. And of course there is the exploration of the inherent homosexuality and illicit passions within - explained as a result of male dominance in the Shinsengumi - much like seamen out at sea.

This insightful look at sexuality in the feudal era of Japan reveals a surprising open-mindedness and tolerance, even jokingly, from the Shinsengumi leadership, though as demonstrated in the ending - only up to a point.

A must watch for any who crave a different perspective to the way of the Samurai in that era.

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#6. Kagemusha (1980)

Director: Akira Kurosawa

Starring: Tatsuya Nakadai, Tsutomu Yamazaki

Most lists would not place this film ahead of Ran, but there are a few things that made Kagemusha more enjoyable for me.

First is the idea of a "Shadow Warrior", a man who is made to be a double for a dying warlord, is a concept that is immediately both interesting and intriguing.

Then there is the performance of Tatsuya Nakadai, playing dual roles. Of note is his portrayal of the thief who grows to immerse himself into the role of the warlord that he is forced to play, even coming to care and make the ultimate sacrifice for the clan. You can tell that Kurosawa instructed Nakadai to mimic Toshiro Mifune, but Nakadai plays his part very well. He may never be a Mifune, but at least in Kagemusha he hardly looks out of place.

Ultimately for me, Ran as a story falls behind Kagemusha because it appears to be more formulaic. Audiences will root for the thief in Kagemusha simply because the story is less predictable and because the thief grows a heart along the way.

We do empathise with Hidetora in Ran, but when we can tell what is going to happen even at the end, then it is going to be that harder for the story to strike a chord.

Compare that with the Kagemusha's final futile charge, I grief and despair with the character, knowing full well  that he could easily have turned away from it all - but chose not to.

The final moments from Ran and Kagemusha are both equally sad, but it is Kagemusha and that brave sacrifice that earns the film this spot for me.

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#5. The Twilight Samurai (2002)

Director: Yoji Yamada

Starring: Hiroyuki Sanada, Rie Miyazawa

What do you call a film that flies in the face of traditional Samurai films? Genius.

With a grand total of just two fight scenes, one could hardly call this a swashbuckling samurai action film. Instead, it tells the story of a humble samurai, struggling to care for his family after the loss of his wife to illness.

The film portrays the life of the samurai in an era when their swords are no longer needed.

Hiroyuki Sanada plays the impoverished and unkempt samurai who disappears at sunset after each working day, leading his colleagues to nickname him the Twilight Samurai.

The film takes a look at the samurai in a changing era, but really, it is also a story of a man who only yearns for a simple life with his family - and a budding childhood love.

But even as times are changing, the strict samurai code and conservative traditions can get in the way of true happiness. A quiet love story - where less is said, and more is shown.

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#4. Harakiri (1962)

Director: Masaki Kobayashi

Starring: Tatsuya Nakadai, Rentaro Mikuni, Shima Iwashita, Akira Ishihama

Westerners call it Hara Kiri, the Japanese would call it Seppuku, depending entirely on the order in which the two Japanese characters are read.

But this is not about linguistics - it's about an instant classic - one that rivals a Kurosawa even at its peak.

To the untrained viewer, the pace is slow. The narrative however, slowly draws you in.

An ageing ronin (wandering samurai) recounts his tale in front of a clan of samurai, with whom he has requested a seppuku ceremony (effectively an assisted suicide). But all is not as it seems, and the tale unravels into an explosive conclusion.

This is not simply a tale of samurai sword fighting, but also an outside look at samurai culture and the sometimes harsh and unrelenting nature of honour and traditions.

Tatsuya Nakadai delivers another impeccable performance. I hadn't really heard of him but he has already made quite a few appearances on this list. Can he actually be better than the great Toshiro?

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#3. Rashomon (1950)

Director: Akira Kurosawa

Starring: Toshiro Mifune, Masayuki Mori, Machiko Kyo, Takashi Shimura, Minoru Chiaki

The answer of course to the last question is "NO".

And here is the reason why. The performance of Toshiro Mifune in Rashomen is groundbreaking, both for his career and also for the way future films portray their heroes. Mifune was said to have studied footage of lions in the wild in order to perfect his acting for this role.

His wild, often animalistic acting style paved the way for acclaimed performances in films like Yojimbo or Sanjuro, and even Tatsuya Nakadai pretty much emulated Mifune in Kagemusha.

But Rashomen is not simply about Mifune. If there ever was a film that showcased the perfect balance and partnership between Kurosawa and Mifune - then this was it.

Rashomen not only featured the raw & immense talent of Mifune, but also set a new standard for cinema in its unconventional storytelling and use of filming techniques.

A crime is committed, and all the parties involved recount the events of the crime from their point of view - except that their stories are all different from the other, leading to the confusion as to what actually represents the truth.

This plot device became so famous, it came to be known as the Rashomen Effect. One well known film that adopted a similar approach is Zhang Yimou's Hero. And there are others.

Interestingly enough, this film is a rare mention amongst other samurai film lists, even though it is one of Kurosawa's best known works - albeit in the West. And to be fair - it is not so much about the samurai as it is about the plot line - but for me it qualifies well enough....

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#2. When the Last Sword is Drawn (2003)

Director: Yojiro Takita

Starring: Kiichi Nakai, Koichi Sato

Among the modern samurai films, critics will probably point to the famous samurai trilogy by Yoji Yamada as the benchmark of samurai films. But here is one that also portrays the samurai of the period in a similar light to what Yamada has done. Perhaps lesser known than the masterful Twilight Samurai, but for me, even more touching and heartbreaking.

To be honest though, When the Last Sword is Drawn is probably not as well made as it could have been. There are quite a few flaws that detract from the overall experience. Certainly it is not as visually inspiring or beautiful as Twilight Samurai.

It also employs the device of parallel timelines to tell a story of yesteryear. It's not that it is particularly confusing as such devices can be. But the execution feels tired, cliched, and ultimately, probably unnecessary.

Nonetheless, the story of a money grubbing samurai who joins the Shinsengumi, and how it slowly unfolds to reveal a man of incredible loyalty and patriotism (if not honour), willing to sacrifice his all for family and country - this is a story that is at once unlikely, yet incredibly heartwarming and sadly, tragic.

In many ways, I think a good story can make up for slightly inferior production value, and this is one example that outlines this clearly. I am not saying this film is poorly made - far from it - rather I would say, this is one film that does not rely on artistry to tell a gripping tale.

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#1. Seven Samurai (1954)

Director: Akira Kurosawa

Starring: Takashi Shimura, Toshiro Mifune, Isao Kimura, Yoshio Inaba, Daisuke Kato, Minoru Chiaki, Seiji Miyaguchi

Were you seriously expecting anything else?

This film is so iconic, it has set the standard for a genre of film that features a motley collection of heroes. The Magnificent Seven; Seven Swords; Ocean's Eleven; and even in animated films like A Bug's Life - plus so many, many more - have been modeled after Seven Samurai.

It's not even funny - it's like a textbook for film students.

The wise leader; the complementary advisor; the reliable soldier; the brooding genius; the funny man; the young apprentice; and the big buffoon. Do you recognise these archetypes in the film and who played what?

A village finds itself threatened by bandits, and sends representatives into town to hire some samurai to defend its land and crops. Seven samurai sign up - and the rest is history.

Masterful performances from Takashi Shimura (another Kurosawa veteran) and Toshiro Mifune, who easily steals the show as the loudmouthed samurai with the big sword. But as with all films of this genre, the film also relies on the interplay between the seven heroes, and also the villagers who hire them.

If you have to watch only one samurai film - this has to be it. No other film even comes close - really.