Remaking Kurosawa? People Have Been Doing It For Years

Akira Kurosawa's Centennial last spring is still causing ripples. Splendent Media extends the celebration in a potentially controversial way. They have the rights to an enormous part of the Kurosawa catalogue should anyone want to purchase them for a remake. Kneejerk reaction is NOOOOooooooooo. But then you realize that Rashomon, The Hidden Fortress, and The Seven Samurai (and to a lesser extent many of his other films) have already been ripped off hundreds of times for movies and television. Hell, I've even seen an Off Broadway musical based on Rashomon!

So why would a straight up remake be any different? 

Here are the 26 Kurosawa directed pics (of the 32 he made) that they're offering rights to:

Sanshiro Sugata (1943)
The Most Beautiful (1944)
Sanshiro Sugata Part2 (1945)
The Men who Tread on the Tiger’s Tail (1945)
No Regrets For Our Youth (1946)
One Wonderful Sunday (1947)
The Quiet Duel (1949)
Stray Dog (1949)
Scandal (1950)
Rashomon (1950) -- Honorary Oscar Foreign Film
Idiot (1951)
Record of a Living Being (1955)
Throne of Blood (1957)
The Lower Depths (1957)
The Hidden Fortress (1958)
The Bad Sleep Well (1960)
Yojimbo (1961)
Sanjuro (1962)
Red Beard (1965)
Dodes’Ka- Den (1970) -- Best Foreign Language Film Oscar Nominee
Dersu Uzala (1975) -- Oscar Winner, Foreign Film
Kagemusha (1980)  -- Best Foreign Language Film Oscar Nominee
Ran (1985)  -- Best Director Oscar Nomination
Dreams (1990)  
Rhapsody in August (1991)
Madadayo (1993)

QUESTION: Wouldn't it be strange to buy the rights to remake Ran or Throne of Blood when you can get their source material (King Lear and Macbeth) for free?

What's your favorite Kurosawa? Sometimes I wish I'd seen them all -- since I've yet to be disappointed -- but it's so daunting given how prolific he was.

Foreign Oscar Tracking: South Korea

Korean cinema has really been a hotspot this past decade, what with Kim Ki-Duk (Time, 3-Iron, Spring Summer...), Bong Joon-ho (The Host, Mother, Memories of Murder), Park Chan-wook (Thirst, Oldboy... the upcoming Stoker) and Lee Chang-dong (Poetry, Oasis, Peppermint Candy) winning over critics and Asian film fans quite regularly. South Korea's steady stream of great performances by actresses isn't hurting their rep either... especially not with The Film Experience ;) Just the other day I was skimming over The Housemaid again and, gah, actressy heaven. All four female players were totally working those roles.

The Front Line, Sunny, and Poonsang

So we're curious as to what they'll submit this year.  The Korean Film Commission has narrowed it down to six titles so one of these will be your Oscar contender:

• Poonsan (Juhn Jai-hong) is a romantic drama about a South Korean messenger and his pick-up from North Korea that he's to smuggle across the border. 
• The Yellow Sea (Na Hong-Jin) is about a gambling addict taxi driver who takes an assassination job to pay off his debts. Trouble follows, naturally.
• The Front Line (Jang Hoon) The director used to be an assistant director to the great Kim Ki-Duk. Apparently there is now friction between the two of them in regards to the goings on of the Korean film industry. This is a big budgeted war drama taking place in 1951. 
• Sunny (Kang Hyeong-cheol), is the year's biggest hit in Korea. And -- actress alert! -- it's about a group of girlfriends from school who reunite 25 years later to reminisce. 
• The Day He Arrives (Hong Sang-soo) is a black and white picture about a man wandering around Seoul, running into friends and ex girlfriends and the like. It played at Cannes.
• Hanji (or Scooping Up the Moonlight) (Im Kwon-taek) a government employee is assigned to revive the Hanji paper industry and he falls in love with it. Kwon-taek has been submitted once before with Chunhyang (2000)

It's tough to say what the Film Council will go for as there are a wide variety of factors in play from homefield success, through international auteur reps, to which films might appeal to AMPAS's sensibility. But the sad truth is that, whatever they choose, it's an uphill battle. Oscar has yet to nominate a Korean film... despite recent submissions as hugely acclaimed and well loved as Oasis (2002), Spring, Summer, Fall, Winter...and Spring (2003), Secret Sunshine (2007) and Mother (2009).

Have you caught up with recent Korean successes like Mother, Poetry (my review), The Host or The Housemaid? 

Oscar Pages for Foreign Film Submission Lists

Box Office: Crushed Cars, Ascendant Woody and Global Hits

We won't waste too much time on the American box office today as it's the usual stories: an animated film tops the charts (don't make me say the name), Bridesmaid barely dipped and Midnight in Paris is zooming up the "all time Woody Allen lists". On this last bit I wish we had "adjusted for inflation" charts at the ready. Those inevitable stories about it passing Hannah and Her Sisters at the box office are going to be annoying because $40 million in 1986 is a helluva lot more ticket-buying action than $41 million in 2011, you know? I'm guessing that Annie Hall, which really captured mainstream attention, would reign supreme if you adjusted for inflation. [updated: yep, ANNIE HALL is #1]

And yes I normally do a new drawing for the box office but I hate drawing cars and the only picture I'd like to conjure in that realm is Cars 2's "Mater" squished flat in a compactor.

U.S. Box-Office (Actuals)
figures via box office mojo

01 CARS 2 new $66.1 
02 BAD TEACHER new $31.6 
03 GREEN LANTERN $18 [review] (cum. $88.9)
04 SUPER 8 $12 [thoughts] (cum. $95.1)
05 MR POPPER'S PENGUINS  $10.1 (cum. $39.2)

the rest of the top twelve are now losing screens... 
X-MEN FIRST CLASS $6.6 [review, top ten X] THE HANGOVER PT II $5.5, BRIDESMAIDS $5.2, PIRATES OF THE CARIBBEAN: ON STRANGER TIDES $4.9 [review], KUNG FU PANDA 2 $4.1, MIDNIGHT IN PARIS $4.1 [podcast] and TREE OF LIFE $1.3 [overheard & thoughts]

Worldwide Action
It's all about the 4th Pirates film worldwide unfortunately, reminding us that the US hardly has the strangehold on lemming-like sequel culture. Johnny Depp on loop nears another 1 billion gross. Crazine$$.

But let's talk about movies that never get any attention on movie blogs!
I looked at the global charts at box office mojo and thought it was worth sharing. Here are the top grossers that aren't Hollywood for 2011 (Please note: Bollywood does not give figures to B.O.M. so who knows with those films)

2011's Top Grossers (Non-English Language)

01 Hankyu densha 
This Japanese film is based on a best-selling novel about intersecting lives (it uses a public transport line as connecting backdrop). Starring Miki Nakatani and Erika Toda. It's nearly as big a hit as, say, Rango across the ocean but it's Japan only thus far. [Trailer]
02 Rien à déclarer (Nothing to Declare)
Directed and written by and stars (whew) Dany Boon who you might remember as the lead actor from last year's chaotic farce Mic-Macs (which was from Amélie's director). It's a comedy about customs officers during the elimination of the French-Belgium border in the 1990s. This is a bigger hit than True Grit or No Strings Attached overseas and has distributors in various markets but nothing for the US as far as I can tell. 
03 Che bella giornata (What a Beautiful Day)
A very complicated sounding comedy starring Checco Zalone (who also co-wrote the movie) as a security officer in Italy who gets mixed up with an Arabic girl posing as a French woman. Italy only thus far. [Official Site]

04 Kokowääh
German star Til Schweiger (Inglourious Basterds) co-wrote this family comedy and co-stars with his daughter. Warner Bros handled the very very successful German release. Will we see it... or some English language remake here?
05 SP The Motion Picture
Japanese film about Security Police that's based on a TV series.
06 Gantz
A genre film about two teenagers played by Ken'ichi Matsuyama and Kazunari Ninomiya hunting and killing aliens. This one has distributors in some European countries in addition to Asia but the only US plans (at the moment) is a spot in the New York Asian Film Festival which is just about to start (July 1st). 

Here's the trailer for the festival as a whole (cute). If you're in NYC are you seeing anything?

After that in the global charts when its not Hollywood films it's mostly Asian films (they have their own strong markets) but there's one film in particular that our actress-loving heart is thumping for longingly. That's Les Femmes du 6ème étage (Service Entrance) which is a French film about Spanish maids from director Jean-Philippe LeGuay. The Spanish cast includes Carmen Maura and Lola Dueñas (Volver reunion alert!) as the help and Fabrice Luchini and Sandrine Kiberlain as conservative wealthy French employers.

Service Entrance

Strand Releasing has US distribution rights but given that the film is the 79th most popular overseas for 2011 with a $15 million gross (thus far), we hope it gets a hearty US push.

Do you like hearing about foreign hits or did your eyes just glaze over?

Akira Redux

You've heard that they're making a live action American version of Katsuhiro Otomo's Akira (1988), right? That's the sci-fi cartoon that really opened the Anime floodgates here in the States. I have a faint memory of seeing the movie in the theater when it arrived in the States -- I think 1990? -- and that memory involves two things: my jaw was mostly open throughout from the epic violent craziness, and my best friend at the time who I went to every movie with (hi Kevan!) turned to me during the climactic battle when Tetsuo transforms hideously into this blob like creature and said something silly like "quivering mounds of blubbery goo" in a dramatic but silly voice. We started giggling and a rather, um, large patron in front of us turned around to give us hateful looks. Embarrassing! But we were just reacting to the visuals on screen, I promise.

For those of you who are unfamiliar, the film is about a gang member biker Kaneda and his efforts to stop his powerful psychic friend Tetsuo from destroying Neo-Tokyo, an artificial city of sorts built after the destruction of the real Tokyo by another psychic boy named Akira who is still alive but imprisoned. (It takes place in 2019.) The new version will be directed by Albert Hughes (The Book of Eli) and the adaptation was done by Steve Kloves (The Fabulous Baker Boys, the Harry Potter franchise).

Though it was to be expected that the American remake would Americanize the story (it'll now take place in a futuristic New York City. Will they call it "New New York"?), some of us were stupid enough to hope that they'd realize that America does not equal caucasian. When your movie is based on a famous Japanese movie, it's not like you couldn't win lots of street cred and fan favor by casting Japanese Americans in the lead roles. Hell, even just Asian Americans of any type would win you non-racist points, as you'd still be acknowledging that people of color should maybe lead properties that are non-white in origin. Oh sure, you can say "there are no bankable Asian American actors" but how will there ever be if they're never given opportunities? And here's a thing Hollywood often forgets in their risk averse decisions: remakes of famous movies as well as virtually all genre titles, are sold primarily on their brand awareness and on their genre. This may be an unpopular theory but even something like Inception. Consider: What sold more opening weekend tickets? The folding city in the trailer or Leonardo DiCaprio's name in the trailer. The latter cost them 8 figures. This is why I've never understood why Batman in his multiple incarnations always requires an expensive leading man; BATMAN IS THE STAR, not the actor. Movie producers used to understand this. Christopher Reeves was not famous when he signed on for Superman and it sure didn't hurt that film's box office. District 9's box office wasn't hurt by using an (excellent) unknown in the lead role. With certain genres (mostly the "geek" genres: superhero, sci-fi, horror) the genre and the concept is the star.

My points is this. New York City is not lacking for diversity. I am white and I am most definitely a minority in my neighborhood. So why do movies set in NYC always seem lily white? And surprise: Actors come in all nationalities and skin colors, not just American/British/Australian and white.

illustration by taka0801

The actors being discussed for the lead roles of Kaneda and Tetsuo, who'll obviously have to be renamed Ken and Todd, are the following: Robert Pattinson, Andrew Garfield, James McAvoy, Garrett Hedlund, Michael Fassbender, Chris Pine, Justin Timberlake and Joaquin Phoenix. That's a lot of different acting styles and accomplishments and types and even ages. So basically, once again, we see that casting has nothing to do with what's required for roles or what tone a film is aiming for, it's just "whoever is on the studio's lips" each time. Sad. Casting is an artform, too. I really wish we'd see some acknowledgement that it is.

If The Film Experience were a massive site with millions of readers I'd demand a casting call right here. I'd be asking for all unknown or 20to30something Asian actors with excellent English skills, physical action film aptitude, and movie star good looks to send in their headshots and reels and I'd be packaging it all up with the top 20 and sending it Warner Bros way. Freelance casting director for hire!

Daniel Henney, Won Bin, Chang Chen, Masahiro Motoki, Takeshi Kaneshiro, Dennis Oh, Matsuyami Kenichi and Hiroshi Tamaki

Seriously, I don't understand why I can spend (literally only) 15 minutes brainstorming and come up with a couple of handfuls of Asian actors that might be cool to think about / test / consider for these roles (even allowing for the studio's random age ranges and no discernable "type") if they spoke English well -- surely some of them do, especially the American ones! ;)  -- but Hollywood studios with all of their casting resources and their budgets and their months of pre-production work don't ever even consider meeting with any of them? Do they even look at headshots? Do they even know that male actors of Asian descent exist? I'm beginning to wonder.

I suppose the most we can hope for at this point is that they deign to let Ken's (née Kaneda) love-interest Kei keep her Asian-ness. Every once in awhile the studios will let an Asian actress play a girlfriend. But Asian men? Forget about it. Shame.

Need More Akira? We'll be celebrating again in April in our "Hit Me With Your Best Shot" series. It's collaborative so join in.

Are you a new reader? Welcome. Please consider subscribing or bookmarking - some more pieces on animated films and Asian cinema coming up. We've been in the mood.

Another article addressing this problem -- though not Akira related:
Asia Pacific Arts "Hot Asian Actors Hollywood Doesn't Yet Realize It Needs"

Box Office Blather: Rango, Poetry, Gods/Men, Robbers

Bereft of inspiration today, Nathaniel turns to box office, the thing everyone else talks about elsewhere on the interwebs. Endure it! I have questions.

Top Ten
01 new RANGO $38
02 new THE ADJUSTMENT BUREAU $21.1
03 new BEASTLY $9.8
04 HALL PASS $8.8 (cumulative: $26.8)
05 GNOMEO & JULIET $7.2 (cumulative: $84)
06 UNKNOWN $6.5 (cumulative: $53)
07 JUST GO WITH IT $6.4 (cumulative: $88.1)
08 THE KING'S SPEECH $6.2 (cumulative: $123.5)
09 I AM NUMBER FOUR $5.7 (cumulative: $46.4)
10 JUSTIN BIEBER: NEVER SAY NEVER $4.2 (cumulative: $68.8)

Because I am finally free of Oscar season time constraints, I'll let you choose which new release from this week and next I should watch next to remount the "right now" movie horse. Obviously I need no push to get to JANE EYRE (Fassy! Mia!) so I left it off the list. Which other one should I write about?

poll by twiigs.com

Also how sad is it that a movie no one seems to like at all (Just Go With It) will now be one of Nicole Kidman's highest grossers in many years? The world -- and by world I mean movie theaters. Duh! -- would be an infinitely better place if this and Rabbit Hole ($2 million) switched cumulative grosses. Imagine the ripples in Hollywood moviemaking if female-led dramas with tremendous performances won default ticket purchases and sexist lazy comedies had to earn Oscar nominations to win any attention at all! Heh.

Other new releases: Take Me Home Tonight ($3 million), Happythankyoumoreplease ($35,000) and Uncle Boonmee reviewed ($27,800) which had a great first weekend take for a difficult movie that waited 10 months to capitalize on its Cannes hoopla. It should easily outgross Apichatpong Weerathesakul's biggest US market hit which was Tropical Malady (2005) which didn't earn that much until its fifth week in theaters.

Top 10 Foreign Films This Year (Thus Far)
01 BIUTIFUL w/ Javier Bardem $4,200,000+
02 YAMLA PAGLA DEEWANA  $993,000+
03 OF GODS AND MEN $818,000+
04 DHOBI GHAT (MUMBAI DIAIRIES) $576,000+
05 7 KHOOM MAAF $268,000+
06 EVEN THE RAIN w/ Gael García Bernal $230,000+
07 IP MAN 2 $182,000+
08 WHAT WOMEN WANT w/ Gong Li and Andy Lau $123,000+
09 THE HOUSEMAID $117,000 +
10 POETRY $114,000+ don't miss it!

Asian hits of 2011

So happy that people are noticing South Korean's actressy cinema (#9 & #10) post Mother (2009).

At the subtitled speciatly box office we continue to see that if you want to make any money at all it helps to be a Bollywood feature (even with zero media attention you can earn money. See: #2,4,5). The second easiest way to sell tickets is to have a beloved star in the lead role.

Of Gods and Men's terrific opening and Even the Rain's pretty solid one suggests -- at least to this foreign film Oscar enthusiast -- that they should not have waited for a nomination for release. If there was this much interest despite snubs, imagine how much extra sympathy press they would have gotten had they already had "hit" status and then got snubbed. Of Gods and Men obviously didn't need the Oscar buzz to sell tickets and Even the Rain always had Gael García Bernal and instant recognition factor (Christopher Columbus related) going for it... Meanwhile, below this top ten lay the remains of other Oscar snubbees who waited to see how the Academy would treat them before sticking a toe in the US market: Argentina's Carancho ($39,000) German's When We Leave ($19,000) and Romania's If I Want to Whistle, I Whistle ($12,000). The biggest foreign flop this year has to be Ong Bak 3 right? The first film in this Tony Jaa muay thai trilogy was a major art house hit earning nearly  $5 million stateside and $20 million worldwide but the novelty wore out fast and/or they waited way too long to capitalize on interest and/or the sequels weren't very good? For the record I suspect it was a lethal combo of all of the above. I enjoyed the first one a lot and couldn't stomach the second which flopped in the US but it surprised me how long it took for them to make a sequel. For a year there in the mid Aughts I totally thought Tony Jaa was going to be the next international action star but then... crickets.

Heartbeats cast: Dolan, Schneider and ChokriIn other news, just because I like the film quite a lot, Xavier Dolan's Heartbeats has earned $18,000 to date but is still in theaters and available on demand. I feel like this would have done much better had his debut film I Killed My Mother had a real release in the States to build awareness of the new auteur. (I still read conflicting reports about whether or not it actually ever opened in the US and if it's that hard to know...).

On the subject of teeny tiny grosses, Germany's crime drama The Robber, which I didn't particularly "like" but which was unquestionably exciting and well-made on a technical level, has earned $5,000. It's already lined up for an English language remake (possibly with Andrew Garfield) and while I can see them trumping the film on an emotional engagement level, I think they'll be hardpressed to duplicate this one's technical virtuosity and cumulative white knuckle effect. It is scary intense.

Here's the trailer for The Robber which actually does a good job of not giving the movie's best moments / surprises away.