Class, Race and Corporate Power Volume 3 Issue 1 Article 3 2015 Neglected Masterpieces of Cinema Louis Proyect [email protected] Follow this and additional works at: https://digitalcommons.fiu.edu/classracecorporatepower Part of the Film and Media Studies Commons, and the Political Science Commons Recommended Citation Proyect, Louis (2015) "Neglected Masterpieces of Cinema," Class, Race and Corporate Power: Vol. 3 : Iss. 1 , Article 3. DOI: 10.25148/CRCP.3.1.16092133 Available at: https://digitalcommons.fiu.edu/classracecorporatepower/vol3/iss1/3 This work is brought to you for free and open access by the College of Arts, Sciences & Education at FIU Digital Commons. It has been accepted for inclusion in Class, Race and Corporate Power by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. Neglected Masterpieces of Cinema Abstract This article will acquaint you with ten of the more important leftwing films I have reviewed over the past sixteen years as a member of New York Film Critics Online. You will not see listed familiar works such as “The Battle of Algiers” but instead those that deserve wider attention, the proverbial neglected masterpieces. They originate from different countries and are available through Internet streaming, either freely from Youtube or through Netflix or Amazon rental. In several instances you will be referred to film club websites that like the films under discussion deserve wider attention since they are the counterparts to the small, independent theaters where such films get premiered. The country of origin, date and director will be identified next ot the title, followed by a summary of the film, and finally by its availability. Keywords Film Review, Radical Film Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 License. This politics of culture is available in Class, Race and Corporate Power: https://digitalcommons.fiu.edu/ classracecorporatepower/vol3/iss1/3 This article will acquaint you with ten of the more important leftwing films I have reviewed over the past sixteen years as a member of New York Film Critics Online. You will not see listed familiar works such as “The Battle of Algiers” but instead those that deserve wider attention, the proverbial neglected masterpieces. They originate from different countries and are available through Internet streaming, either freely from Youtube or through Netflix or Amazon rental. In several instances you will be referred to film club websites that like the films under discussion deserve wider attention since they are the counterparts to the small, independent theaters where such films get premiered. The country of origin, date and director will be identified next to the title, followed by a summary of the film, and finally by its availability. 1. Crimson Gold (Iran, 2003, Jafar Panahi) Panahi is one of Iran’s most celebrated directors as well as the one most hounded by cops and censors. Presently he is under house arrest, the subject of his two most recent films. You can certainly understand why the authorities would want to suppress his films since they are trenchant critiques of both class inequality and religious authoritarianism, especially “Crimson Gold”. “Crimson Gold” tells the story of Hussein (Hussein Emadeddin), a lumbering, overweight and impassive man in his 30s who delivers pizzas on a motorcycle in Tehran. He is a veteran of the Iran-Iraq war and has a medical condition–presumably war-related– that requires him to take cortisone, which accounts for the weight gain. He lives in a grimy one-room flat and seems to take pleasure in nothing, not even in the prospective marriage to the attractive sister of his best friend Ali, a fellow pizza deliverer. Hussein is a kind of periscope into Iranian society as we accompany him on his rounds. One customer lives in a mansion and is in the middle of a phone call as Hussein enters. He is trying to cajole a young woman to come spend the night with him. As the phone call continues, Hussein wanders from room to room astonished by the wealthy appointments. On another delivery, he is forced to wait until the police finish arresting an apartment full of young men and women. Their crime was dancing. In one of the more daring casting choices in the history of film, Panahi used a real-life pizza deliveryman who suffers from schizophrenia in the role of Hussein. This gives the character’s brooding inwardness a reality that might have been difficult for another actor to achieve. Panahi said, “We knew he was a schizophrenic in advance, so we knew he would be difficult to work with. But I had no idea that it was going to be that difficult. On several occasions I was tempted to stop shooting and simply abandon the entire project.” As it turns out, it was instead Iran’s religious authorities that forced Panahi to stop making films—at least for the time being. Source: MUBI.com (Launched as “The Auteurs” by a Turkish cinephile in 2007, this is an archive of foreign, classic and independent films that costs $4.99 per month.) 2. Ceddo (Senegal, 1977, Ousmane Sembene) Ousmane Sembene was a member of the French Communist Party while working as a longshoreman in Marseilles in the 1940s by day and launching a career as a novelist by night. He made the transition to filmmaking in 1966 with “Black Girl”, a fierce tale about the exploitation of a Senegalese maid employed by a French couple. Passing away at the age of 84 in 2007, he is widely regarded as Africa’s greatest directors as well as a critic of colonialism and the corruption of local elites. Ceddo means commoners, a reference to the serfs in a small 19th century Senegalese village who are miserably oppressed by organized religion and by their feudal overlords. The clerical structures are much more modest than those found in any feudal society (Islamic services are held on the open ground bounded by pebbles), but the bonds enforced by custom are the same. The ceddo must pay tribute to their King in the form of firewood bundles. An Islamic caste also takes tribute in the form of slaves, who are exchanged for guns or cloth in a general store run by a white man. To round out the microcosm of feudal society, there is a single white Catholic priest who is barely tolerated by the Moslems. Weary of oppression, a ceddo youth kidnaps the daughter of the King and takes her to an isolated wooded glen near the ocean. She will only be returned after the ruling classes forsake slavery and forced conversion to Islam. Played by amateurs, as is the case in nearly all of Sembene’s films, the villagers, have a simple desire to live as they have always lived. In a conflict between the King and the Islamic clergy over how to divide up ceddo tribute, the clergy seize power. Now that they are the new ruling class, they force the village to undergo conversion. One by one, the men’s heads are shaved as they are given new names. The arrogant Imam tells the disconsolate villagers: “You are now Ishmaila”, “You are now Ibraima”, etc. , Whether in Africa or in the New World, cultural assimilation always precedes economic assimilation. Implicit in Sembene’s films is the notion that cultural renewal must precede social and economic transformation. Source: https://www.youtube.com/watch?v=9ipcync79CI 3. Kabei: Our Mother (Japan, 2008, Yoji Yamada) Now 84, Yamada is best known for his Samurai Trilogy that depicts the warrior caste as oppressed by feudal overlords. “Kabei: Our Mother” is based on the memoir of a woman whose husband was imprisoned during WWII for his Communist and antiwar beliefs. Like “Ceddo”, and his Samurai trilogy for that matter, the film is an attack on feudal backwardness. Unlike Western Europe, Japanese capitalism preserved many precapitalist social institutions that were suited for authoritarian class rule. At the beginning of the film we meet Shigeru Nogami, a one-time philosophy professor fallen on hard times. He is three months behind on his rent and has just learned that a publisher has turned down his latest book. Unlike most of his countrymen swept up by the ultranationalist fervor of the ruling party, he opposes the invasion of China and has the courage of his convictions to say so publicly. He has the misfortune to take philosophy’s teachings seriously, a flaw not shared by fellow academics who learn to get along with the system, just as they were doing in Nazi Germany. After he is imprisoned, his wife Kayo is forced to raise their two young daughters on her own under difficult circumstances of economic hardship and political repression. Apolitical herself, her only hope is that Shigeru will be released from jail and returned to the happy if impoverished household that they share with the twelve year old Hatsuko and her six year old sister Teruyo who provides the narrative and point of view throughout the film. As such, “Kabei: Our Mother” evokes Fellini’s “Amarcord”, another film about life under fascism seen through the eyes of a child. Unlike “Amarcord”, the emphasis is less on lyrical youthful evocations (although there is much of that) than it is about injustice and the struggle for dignity and freedom. In a 2008 interview, Yamada stated that the themes of the film are relevant to contemporary Japan where nationalistic forces were gathering strength. He said, “Japan should have remained the one country in the world with no military and a prohibition against war (in the Constitution). Now Japan is going along with America and the Bush administration.