Hou Hsiao-Hsien @ 75: International Acclaim (1987-1998)

by Cláudio Alves

In contrast with their critical acclaim abroad, the Taiwanese reception of Hou Hsiai-Hsien's films was less enthusiastic. Dwindling box-office returns and accusations that his films were too uncommerciable led the director to attempt bridging the popular and the artful. 1987's Daughter of the Nile returns to the realm of modern Taiwan's youth, abandoning the midcentury narratives that had characterized the autobiographical films. It's also notable for its more significant urban setting and single-minded focus on a female protagonist. 

After this project, he wouldn't pay much attention to commercial appeal while his ambitions grew. At the end of the 80s, we encounter a peak of international recognition, the ascension of Hou Hsiao-Hsien to the pantheon of modern-day masters of cinema. All it took was a landmark film that, in 1989, earned the Golden Lion at the Venice Film Festival and kickstarted a trilogy of historical reflections…

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Hou Hsiao-Hsien @ 75: Independent Auteur (1983-1986)

by Cláudio Alves

After abandoning studio moviemaking, Hou Hsiao-Hsien became more evident in his cinematic references. Some of his post-1982 films even featured excerpts from De Sica's Bicycle Thieves and Visconti's Rocco and His Brothers. Fellini's I Vitelloni was never as obviously showcased, but 1983's The Boys from Fengkuei owes much to that Italian classic. The film portrays the aimless wanderings of bored teenagers from a small shipping island. Before the boys are called for their obligatory military service, they travel to the big city of Kaohsiung, finding new independence, new loves, and new woes.

Instead of forcing an artificial structure unto his character's existence, Hou Hsiao-Hsien follows their insouciance with patience, making the film in their likeness...

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Hou Hsiao-Hsien @ 75: The Studio Films (1980-1982)

by Cláudio Alves

His films are poems, lyrical examinations of the mundane that live in the moment but look backward to a past out of reach but still tangible. Master shots are his preference, whether standing still through mnemonic patterns or roving in idyll movement. Form and emotion are synonyms in this cinematic imagination, indissociable ideas that repudiate traditional storytelling norms. Indeed, many of his works are constructed from the transitory passages other filmmakers leave on the cutting room floor.

For these reasons and more, I have long loved the cinema of Hou Hsiao-Hsien. So, to celebrate his 75th birthday, I ask you, dear reader, to join me on a trip down memory lane, a multi-part odyssey through this master of cinema's filmography…

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What's your favourite Elmer Bernstein score?

Happy Centennial to the composer Elmer Bernstein. Bernstein was born 100 years ago today in NYC to Ukrainian immigrant parents. As a teenager he hoped to become a concert pianist. Fate had different plans; He became a legendary film composer instead. His A list breakthrough came in the mid 50s with the back-to-back success of The Man with the Golden Arm (his first Oscar nomination) and Cecil B DeMille's The Ten Commandments. A year before his death in 2004 he was Oscar nominated for a 14th time for Far From Heaven (2002).  So many classic films on his resume. Consider...

• Sudden Fear (1952)
• The Man With the Golden Arm (1955)
• The Ten Commandments (1956)
• The Magnificent Seven (1960)
• To Kill a Mockingbird (1962)
• Thoroughly Modern Millie (1967) - Oscar win
• An American Werewolf in London (1981)
• The Grifters (1991)
• The Age of Innocence (1993)
• Far From Heaven (2002)

Do you have a favourite score from his work?

Doris Day @ 100: 'With Six You Get Eggroll'

Team Experience has been celebrating Doris Day for her Centennial. 

by Nathaniel R

Most careers peter out. Not so with Doris Day's. The most bankable actress of the first half of the 1960s chose to wrap it up at the first real sign that her popularity was waning. Her last top ten of the year hit was the bizarre comedy The Glass Bottom Boat (1966) but her last film, a blended family comedy called With Six You Get Eggroll (1968), was also a hit albeit not as big as her usual successes. The 1960s were tumultuous on all fronts including ideas about sexuality. The media became snide about Day, infamously dubbing her "The World's Oldest Virgin".

In retrospect, with only anecdotal history to go on, it's fascinating that Doris Day was supposedly rejected on these grounds when Julie Andrews, the box office queen of the second half of the 1960s, was not exactly a repudiation of the Day persona; sunny, funny, wholesome, short-haired musical blonde whose chemistry with male co-stars was undeniable but hardly horny...

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