2014 at the Movie: farewells

James Shigeta (Right) in THE CRIMSON KIMONO
James Shigeta (Right) in THE CRIMSON KIMONO

Actor James Shigeta, who along with writer-director Sam Fuller, broke ground in 1959’s The Crimson Kimono, died in July at age 85. Shigeta’s  first movie role was in The Crimson Kimono, another sensationalistic and deliciously exploitative cop noir from the great Sam Fuller. Always looking to add some shock value, Fuller delivered a Japanese-American leading man (Shigeta), an inter-racial romance and a stripper victim. The groundbreaking aspect of The Crimson Kimono is that Fuller’s writing and Shigeta’s performance normalized the Japanese-American character. Shigeta’s Detective Joe Kojaku is a regular hardboiled, jaded and troubled film noir protagonist.  Of course, Fuller certainly relished the fact that many 1959 Americans would have been unsettled by a Japanese-American man’s intimate encounter with a white woman – another groundbreaking moment in American cinema.

We’re going to miss some other cinematic masters.  Some icons.  And some that we were expecting to create yet more film treasure:

And Philip Seymour Hoffman: His heartbreaking death was a punch to the gut on Super Bowl Sunday.  That’s the thing about addiction – not everybody makes it.

Philip Seymour Hoffman in CAPOTE
Philip Seymour Hoffman in CAPOTE

Gordon Willis: the Prince of Darkness

Gordon Willis
Gordon Willis

The cinematographer Gordon Willis has died at age 82. Willis was a particularly singular filmmaker who often broke new ground and often made movies that looked much different from movies made before.  Although three of the films he shot won the Best Picture Oscar, he was unrecognized by the Academy Awards until he received an honorary Oscar in 2009.

To understand the impact a cinematographer can have on a movie, just check out these examples from among Willis’ 34 feature films.  The first is The Godfather, for which he received the nickname “The Prince of Darkness”.  (Willis shot all three Godfather films).  The convention of the time held that a filmmaker always had to show the eyes of the movie star.  Willis argued that, by not showing Marlon Brando’s eyes, you could actually see into his character’s soul.

Willis Godfather

The second example is All the President’s Men, a paranoid thriller enhanced by the contrast between the stark brightness of the Washington Post newsroom and the menacing darkness of the parking garage where Bob Woodward met his secret source Deep Throat.

Willis Presidents4

Willis Presidents men2

And, finally, there’s Woody Allen’s 1979 masterpiece Manhattan.  Why make a black and white movie in 1979?  New York City was never a more stirring backdrop.Willis Manhatan