That's a great film, but I think as evidenced by Larry Clark's career much of the issues the film works through could easily be applied to the '90s and probably even '70s. It seems more evocative of a place or even time in one's life than an era of time.

Maybe she's just luck enough to find out he in fact isn't Belgian?

It's cruel to wish misfortune on others, but this kid makes me turn into Robespierre with his antics.

Maybe you have to be American, but that scene remains the highlight of the film for me. Such a powerful, angry honesty to the helplessness of you own helplessness.

Lee's really effective about that. Of the '80s films, for instance, Do The Right Thing is the only one that makes me feel as if I know the psychology of the decade. Clockers does the same for the '90s to me.

That's actually the only part of the film I don't find at the least very great. It is too schmaltzy for me. That said thee film instantly wins me over again with the slow acceptance that it is all a fantasy.

She's like Obama. Just white enough for mainstream America to like her.

Both of those at least started as gun for hire jobs. When the Leevees Broke is probably a better example of a recent passion project which works.

It's not the AVC until this great movie is mentioned. I mostly find it hilarious that Lee is so much more consistent in his gun for hire films like this one than the films he's more passionate about.

Anything by Naruse and Hiroshi Shimizu is must watch. The works of Masaki Kobayashi is great too with Harakiri being the top of the mountain (though Crit just put out a nice eclipse set. I really adore their New Wave though some of that stuff is out there. Probably the easiest to get into and my favorite is Imamura…

Clearly you need Le Merde on the case.

That should be my catchphrase.

It is too bad that the MOC set is OOP as it contains some of his best work. Between the eclipse set and the BFI set (or if you are land locked the Crit) there's a fair representation of his work out there.

That's not usually the case with me (big Milius fan though I find his politics deplorable), but I don't find the film making to be good enough to ignore the politics for.

Two of the ones you mentioned I have seen and would safely argue as some of his best work. Despite being down on the guy I'm actually really happy that he went out on something as good as Street of Shame even if it does still feature some of the problems I find his films have with women. If you can get around the lead…

Okay, I was just confused by your statement which suggested you hadn't seen (much) of his films.

Does that mean you haven't actually seen his movies?

Salon Kitty obviously.

I don't see it as Mizoguchi indicting that part of society at all. I can't find it right now, but Imamura has a great write up on how Mizoguchi relates to a strain of misogyny in Japan about saving fallen women. If you can find it it is an essential read.

You're right @avclub-173af0430bc192b8a027af7cdba82cd7:disqus. That comparison was over the line due to real world ramifications. As to @avclub-cfe912f5cb3aa572bd1c9ae2a9b82207:disqus I find his films to often believe in typical gender roles. For example in Sisters of the Gion the comparison between the sisters as…