Blu-ray debut for Zhang Yimou's gorgeous and dark period piece, SHANGHAI TRIAD

Don't know how I happened to miss SHANGHAI TRIAD when it was released theatrically in the USA during the turn-of-the year holiday season of 1995-96. Chinese filmmaker Zhang Yimou and his star Gong Li were at the height of their critical and arthouse/ mainstream success around then, and the film itself -- a beautiful and quite dark costume/ gangster melodrama set in Shanghai in the 1930s -- holds up exceedingly well.

In any case, it's great to be able to catch up with the film in its new and very fine Blu-ray transfer from Film Movement. Visually, this is one of  the more beautiful movies you're likely to encounter, even if you will wonder if and why Zhang (shown at left) decided not (or simply neglected) to bother with any day-for-night effects. Nighttime has never looked this bright or sunny.

The initially-simple-but-soon-grows-more-complicated story involves an adolescent Tang family member (Wang Xiaoxiao, below, right) from the provinces who has come to Shanghai to work for the boss of an upper-echelon crime family, more specifically for that boss' spoiled and nasty showgirl mistress (played by Ms Gong, below, left).

Betrayals of many types soon follow, and characters (some of them, at least) grow and change. By the end of this breathtakingly gorgeous and quite dark movie, the lessons learned have come at a huge cost. If Shanghai Triad does not have the obvious political and emotional heft of To Live, nor the historical/political/feminist framework of something like Raise the Red Lantern, all of these things remain essential to the film nonetheless. They may seem buried under the melodrama, but in a sense this makes them register all the more oddly yet strongly

There is only a single Bonus Features on the disc, but it's a whopping good one: a video essay by Grady Hendrix entitled "Trouble in Shanghai" that goes to town on all the ways one can view Shanghai Triad -- including as a kind of unintentional biopic/biography of both Zhang and Gong and the filmmaking process itself. This is a witty, funny, hugely intelligent piece of criticism/provocation, but do wait until you've seen the film to watch and listen to it.

From Film Movement Classics, in Mandarin with English subtitles and running 108 minutes, the film makes its Blu-ray debut this Tuesday, August 4 -- for purchase (and eventually, I would hope, for rental, too).

Blu-ray debut for Robert Altman's lesser-known but first-class film, KANSAS CITY

I remember seeing KANSAS CITY at the time of its original theatrical release (1996) and enjoying it a lot. Yet viewing it again, in a glorious new Blu-ray transfer from Arrow Academy, it seems not simply very good but up there with its director and co-writer Robert Altman's best films.

So why is this remarkable movie so little know or even much talked about anymore? I suspect it has to do with how little, style-wise, the movie resembles so much of the other work for which Altman, shown at right, is now most remembered. By style, I mean in particular this filmmaker's much vaunted use of over-lapping dialog, together with the so-much-going-on visuals that have you scanning the screen, ever alert to what to watch and to whom to listen as the movie moves ahead.

No. This film, by conventional standards of Altman's work (if the word conventional can even be used here), seems almost traditional. Aside from a clever opening taking place in two time frames that soon come together (as well as coming clear), the film moves forward with the plot unfurling and characters developing, just as in so many more standard movies.

What sets Kansas City apart --  in addition to the first-rate set and production design, cinematography and all other technical aspects -- are the themes Altman so often pursued, especially the ways in which power congregates and corrupts, no matter the race or class represented.

The movie begins with a kidnapping of one woman by another, the reason for which only slowly comes clear. These women are played by Jennifer Jason Leigh (above, as Blondie) and Miranda Richardson (below, as Carolyn), each of whom is as good here as she has ever been. Their story is front and center, and their characters are wonderfully written (by Altman and his four-time collaborator Frank Barhydt) and beautifully acted by the two women, whose relationship grows oddly closer as the film progresses.

Simultaneously, Kansas City is a love story -- fueled by Blondie's love for her guy, a good-looking nitwit named Johnny, played with brainless charm by Dermot Mulroney, below -- and a non-love story in terms of the relationship-of-convenience between Carolyn and her husband, an ex-politician now working for President Roosevelt (Michael Murphy). The tale unfurls on and around election day, as the local Democratic candidate is jammed through via everything from voter fraud to cavalier murder.

Blondie's Johnny has stupidly planned a robbery of a rich gambler that goes awry but brings in the man who own the gambling house (a nifty Harry Belafonte, below, essaying a role unusual for him). How all these plot strands bounce off each other, finally coming together in a manner that is shocking, horrible, inevitable and completely understandable. It will leave you satisfied and musing, I think, on exactly the subjects Altman wants you to be considering, even as you are impressed all over again with what this great filmmaker could accomplish.

Kansas City is a violent film, but never unduly so, with that violence ranging from the merely casual to the grizzly. Yet it all seems appropriate to the period, the locale, and the situations, while the writer/director's take on race in particular is strong and true for this time and place.

In addition to all of the above, Kansas City boasts some wonderful music -- jazz of the day played right and real -- taking place in the club owned by the Belafonte character. As critic Geoff Andrew tells us in the excellent, newly-filmed appreciation of the movie that is a part of the Bonus Features on the disc, this was perhaps the most personal of all of Altman's work, in so many ways, and the filmmaker's attention to detail in every aspect comes through quite beautifully.

TrustMovies believes this new Blu-ray release will help place Kansas City much higher in the canon of Mr. Altman's oeuvre. It should attract both his die-hard fans for a re-look, while garnering a bunch of new ones, too.

From Arrow Video, distributed here in the USA via MVD Visual/MVD Entertainment Group, the film made its Blu-ray debut last week -- for purchase (and I hope, somewhere, rental).

Home video debut for Matteo Botrugno, Daniele Coluccini and Nuccio Siano's impressive and beautifully written Italian drama, TAINTED SOULS

Note: This excellent film is now available

-- as of September 2019, at least -- via Amazon Prime

The original Italian title of TAINTED SOULS -- a new drama about a neighborhood, bisexuality, drugs, money and power -- is Il contagio, which translates, as you might guess, to The Contagion. Perhaps that sounded like too much of a sci-fi thriller for proper international distribution, but it makes a much better (and less pompous) title than Tainted Souls There is nothing at all pompous about this beautifully wrought and gorgeously written exploration of love (mostly unrequited), loss, and life among Italians trying so hard to better themselves with little hope of actually achieving this.

The films directing duo --  Matteo Botrugno and Daniele Coluccini (shown above, with Signore Coluccini on the left) -- also wrote the film, with some help from one of its stars, Nuccio Siano, who plays (and very well) Carmine, the major villain of the piece. One of the many characters in this tale of a Rome neighborhood, which looked to me maybe lower-but-still-striving-middle-class, is a successful novelist in the midst of an affair with a 40-year-old body builder, Marcello (Vinicio Marchioni, below), who is married to a woman who loves him, even if they rarely, if ever, have sex. Marcello's main goal is going to the gym and keeping that still-beautiful body in shape.

His writer/lover, called The Professor, and played to perfection by Vincenzo Salemme (shown below, center), sort of narrates the film. It is his words we hear at the beginning, and again those same words at film's end. Yet what a difference that second time around! If you are not moved to tears or perhaps experience a kind of catharsis at all you have seen and what it has meant, as those words resonate again, I shall be very surprised.

In the midst of the film, the professor speaks at length of what Marcello means to him, and the words are perhaps the most beautiful and moving I've ever heard expressed about "the love object." If this is not art, I don't know what is. I was certain at this point that the movie must have been based on a novel, with this portion of dialog taken word-for-word from the source. Evidently not. We have one, two, maybe all of the three co-writers to thank, as well as Signore Salemme's beautiful delivery of those words. (My mistake: Upon a second viewing of Tainted Souls, during the end credits, I found that the film is indeed based upon a novel, Il Contagio, written by Walter Sitti. I hope Signore Sitti was pleased with the film version.)

We also get to know a number of other tenants of the building and experience a peek into their lives, some of which are sad indeed (a robbery and fur coat figure into things). In the second half (there's a Three Years Later title card), the film turns its attention from Marcello to the character of Mauro (Maurizio Tesei, below), who plays second-in-command to Carmine's crime lord.

Mauro has earlier been instrumental in saving Marcello from the wrath of Carmine (Signore Siano, shown below). It is not clear if there may be a sexual attraction between Mauro and Marcello or simply the chance for a special and perhaps deep friendship.

Either way, that increasing contagion of the power/drugs/wealth combo will eventually destroy this relationship, too. Though the filmmakers deal with some awful and violent stuff, they never rub anything in our faces. We understand what happens and feel its horror and weight but are not subjected to anything approaching slasher-movie nonsense. (A stoning, below, is handled with a surprising, Saint Sebastian-like combination of terror and grace.)

Instead we get a good dose of everything from philosophy and religion to economics, politics and class (there are divergences in that latter category, it seems, even among the criminal set). Finally, as the end credits roll, we feel that we've lived with and loved these people. We understand them, suffer with them, and feel deeply their humanity -- even, in some cases, when there is almost nothing of it that remains.

The film also treats its female characters with unusual clarity and affection, especially Marcello's wife (played by Anna Foglietta, below, of Escort in Love and the recent Diva!), who handles her "other woman" role with the sadness, hope-against-hope and gravity it deserves.

From Breaking Glass Pictures, running 112 minutes and in Italian with English subtitles, Tainted Souls makes its home video debut tomorrow, Tuesday, July 24, on DVD and VOD -- for purchase and/or rental.

Blu-ray debut for Hou Hsiao-Hsien's 30-year-old semi-classic, DAUGHTER OF THE NILE

TrustMovies came fairly late to the oeuvre of Taiwanese filmmaker Hou Hsiao-Hsien. It wasn't until Café Lumière (2003) that I fully appreciated a Hou movie. Since then, I've come to like his work more and more, and now, the opportunity to see one of his earlier films -- DAUGHTER OF THE NILE, from 1987 --  seemed some-thing too good to pass up.

It is, though it is not, I think, quite up to the level of some of his later work. The movie's plot does clunk a bit (one shoot-out duly follows another and another), and Mr. Hou, shown at right, has certainly grown more subtle and graceful in his story-telling over the years. Here fact, fantasy, memory and odd objects -- from a red Walkman to a playful puppy all merge as we enter the life of a young woman and her very problemed family in the Taiwan of 30 years ago where local Chinese eateries are suddenly co-existing with a new KFC. What is most refreshing about the film is how little it seems to have dated (except for certain references to Madonna and/or the size of the early cell phones). In terms of both theme and human behavior, it remains timely.

Our heroine, Lin (above, played by Yang Lin), is constantly contending with that off-track family: a brother (two photos below) who seems only attracted to the criminal life, a lazy younger sister (below), an absentee dad (maybe he simply works too hard and too long), and a grandfather with a minor gambling problem (mom, it seems, has been dead for awhile now).

Little wonder our girl's mind often wanders into reveries about pharaohs and Egyptian princesses, hence the movie's title. Along the way, we visit Lin's classroom and watch a teacher trying so hard to communicate to his students some necessary lesson on morality and philosophy -- to little avail, of course.

Mr. Hou's gorgeous visuals are on full display here, and his gift for verbal description, followed by a single shot that encapsulates all that's been said comes to the fore, as well -- as when a young woman is said to have married for money to a man who is connected to the criminal Triads. When we see her face, from a discreet distance, everything we've heard is brought home in one quiet, breathtaking moment.

Like grand-pa/like grandson comes home to roost, as do a number of fart jokes (Mr. Hou was clearly ahead of his time in regard to the latter). Mostly, though, we get a good look at Taiwan, inside-out and from the ground up. Forget Babylon: this was already, 30 years ago, a sad, desolate, running-on-empty society.

Among the excellent Bonus Features on the new Blu-ray disc are a fine interview with Tony Rayns regarding Hou Hsiao-Hsien and Daughter of the Nile, and a commentary track by Richard Suchenski. The Blu-ray transfer here is often magnificent (there's a scene around a bonfire at the beach that's a veritable feast for the eyes).

From the Cohen Film Collection and running 93 minutes, the movie will hit the street this coming Tuesday, March 20, on Blu-ray, DVD and digital platforms -- for purchase and/or rental.

The reason we love French films: Diastème's sparkling THE SUMMER OF ALL MY PARENTS

Looking for some real sophistication? The sort that casts a wide, maybe wild but also smart and true eye on family dynamics, including parenting, discipline, love, trust, caring and, what the hell, good old humanity itself in so many of its surprising guises. Then of course, you would probably want a French film. Your search is over, as the 2016 delight titled (for the American market, at least) THE SUMMER OF ALL MY PARENTS, has just arrived on DVD last week. The French title, Juillet août, which translates simply as July-August, is much simpler and more appropriate, too, as this small-but-sterling movie deals with a pair of siblings who spend one summer month with their mom and step-dad, and the next one with their father.

The film is directed and co-written by a fellow named Alain Dias, who has now evidently re-christened himself as the single-monikered Diastème (shown at right). Under whatever name, the guy would certainly seem to know what's he's doing, for he's given us an unusual look at a typical "fractured family." But this time, what may initially appear to be the usual clichés soon morph into something quite a bit richer, stranger, more truthful and compelling. How Diastème and his co-writer Camille Pouzol achieve this sneaks up on you via characters who grow slowly and rather quietly, in every case, into something more and better than you will have expected.

Summer/Parents is first of all a movie about character. And growth. That younger sibling, Laura, played with just the right combo of insecurity and ferocity by the terrific little actress, Luna Lou, above, right, and below, left) is coming to terms with late maturation, a lot of anger issues, and the possibility of boarding school. Her gorgeous older sister, Josephine, acted by Alma Jodorowsky (above, left, and below, right -- and, yes, she's the granddaughter of a certain Alejandro), is a young woman discovering what is perhaps her first major love.

Unfortunately that love is for a hot-looking young man (Jérémie Laheurte, above, center) who is a member of a small but somewhat smart criminal group. Meanwhile mom (Pascalle Arbillot, below, right) and stepdad (the fine and funny Patrick Chesnais, below, left) are having their own problems -- physical and monetary -- which eventually spills over to the rest of the family.

By the time August arrives, and the two girls get to Normandy and their very hands-on father (Thierry Godard, below, whom you may recognize from his roles in French TV's police/justice series Spiral and the WWII occupation tale, A French Village), events have taken quite a turn.

How all this resolves is handled with such intelligence and delicacy, avoiding melodrama while offering up a most interesting brand of conflict-resolution that I suspect you will be both charmed and warmed by the insight and kindness on hand.

Along the way, you'll get a very special scene of a girl's first menstrual cycle, a criminal henchman with surprising sense of morality to offset his aroused sexuality, a jewel heist, a teen pool party and lots more -- each of which stands the typical cliché on its head.

If this is not a great film (and I don't think it is), it is still such a very good one that it makes a must-see addition to anyone's list of films about family dynamics. Quiet, smart, funny, believable and full of a sincerity that is never naive, it will, I'm pretty certain, make my extended list of "best movies" come year's end.

Arriving on DVD last week via First Run Features (which most often deals in documentaries but in its choice of narrative films, offers almost consistently some little-known but very worthwhile gems), The Summer of All My Parents, in French with English subtitles and running a just-right 97 minutes, is available now -- for rental, purchase (and probably before too long) streaming.

Robin Pront's dark and devilish THE ARDENNES -- Belgium's BFLF "Oscar" entry -- opens

A few years back the little country of Belgium scored a major coup with its copping a Best Foreign Language Film nomination for its very interesting combination of crime, castration and farming titled Bullhead, which, among other things, brought actor Matthias Schoenhaerts to the world's attention. Belgium's entry into the Oscar sweeps this year is also crime-related, but TrustMovies suspects that this film -- a perfectly good crime-and-family combo called THE ARDENNES from first-time/full-length filmmaker Robin Pront -- was simply too dark and dismal to capture the Academy. (Belgium might have done better entering its fanciful/funny The Brand New Testament.)

Filmmaker Pront, shown at left, has given us something like a cross between a dark Scandinavian crime thriller and Animal Kingdom -- but with this family much less skilled in the ways of crime and socialization. His movie is by turns nasty, sad, consistently unsettling and even occasionally darkly funny, never more so than in a scene involving, yes, a bunch of ostriches on the loose. The settings range from prison to a bleak residential town to those titular Ardennes -- a very large patch of heavily forested hills stretching from Belgium and Luxembourg into parts of Germany and France -- in which the film's fraught and violent finale takes place.

The tale told here is of two brothers. one of whom has gone to jail for a crime without involving either his sibling or his girlfriend to the authorities. By the time he gets out of prison, the girlfriend (Verlee Baetens, below, right) is pregnant by the other brother, and it is clearly but a matter of time before the proverbial shit hits the fan.

This situation accounts for much of the uneasiness that Pront (who both co-wrote and directed) builds throughout. The character of the imprisoned brother -- high-strung and very violent -- accounts for the rest. As played by Kevin Janssens (above, left), this fellow is gunpowder, fuse and match all in one. His sibling (Jeroen Perceval, below, right -- during one of the bleakest "holiday" meals you'll have witnessed on film) proves a weak sister who can't seem to follow through on much of anything. This sibling combo proves as negative for all concerned as you might imagine. (Mr. Perceval also co-wrote the film.)

Violence moves from minor to major and then to a climax that offers plenty of the expected plus a very good -- well, very dark -- surprise. The movie lasts but 96 minutes, which is just long enough to contain the few days, post-prison, in which the plot unfurls. The pacing is tight, performances are on target, and all technical aspects are handled with professionalism and flair.

The finale, which brings us to that titular forest haunt, involves a couple of very bizarre characters, one of whom (Jan Bijvoet of Borgman, above left and below) was in prison with our non-hero and is now going to help him out of his "predicament," while the other is a tall transvestite (below, left) who would so prefer not to kill the victim to whom he's quite attracted. Still, duty calls....

For folk who appreciate dark crime dramas, I would think The Ardennes will be a "must."  For the rest of you, it's a matter of taste. But be warned: This is one very dank exploration of a bad-to-worse set of situations. From Film Movement, the movie opens this Friday, January 6, in New York at the Village East Cinema, and in Los Angeles on January 13 at Laemmle's Royal. To see all currently scheduled playdates, cities and theaters, simply click here and scroll down.