IT’S A MEAN MACHINE – CUTS YOUR HEAD OFF CLEAN!
This classic martial arts death match pits two wuxia icons against each other – the famed One-Armed Boxer (Hong Kong superstar Jimmy Wang Yu) versus a blind assassin (veteran character actor Kam Kong) and his legendary Flying Guillotine. Set in 1730, during the early part of the Ching dynasty, ethnic Chinese Hans formed bands of rebels to fight their Manchurian oppressors. After the One-Armed Boxer, a stoic kung fu expert and Han revolutionary, disposes of two would-be assassins, their master, a formidable blind emissary of the Ching posing as a Buddhist monk, swears revenge, searching out every one-armed martial artist and snatching their heads with his tethered decapitation device called the Flying Guillotine.
Arguably the most famous Hong Kong martial arts film of the post-Bruce Lee, pre-Jackie Chan period, this independently-produced classic is more popular than ever, with a legacy extending to films like Kill Bill and video games like Street Fighter and Mortal Kombat. With its wild, fantasy face-offs and its cosmic Krautrock soundtrack, Master of the Flying Guillotine is undoubtedly a film worthy of losing your head over!
- New High Definition digital transfer
- High Definition Blu-ray (1080p) presentation
- Original Mandarin version and English dub track (uncompressed on the Blu-ray Disc)
- New optional English subtitle translation
- Audio commentary with film critics Andy Klein, Wade Major, and Alex Luu
- Interviews with star/director Jimmy Wang Yu
- Spinning Vengeance – director Quentin Tarantino on Master of the Flying Guillotine
- Design for Decapitation – Grant Imahara on the mechanics of the Flying Guillotine
- Reversible sleeve featuring newly commissioned artwork
- Illustrated collector’s booklet featuring new writing by Craig Lines
With the Criterion Collection’s tease of Twin Peaks: Fire Walk with Me (David Lynch, 1992) and the screening of the first two parts of Lynch’s new Twin Peaks 18-part feature at the Cannes Film Festival, it seems like much of the CC world is abuzz over David Lynch and the prospects of new spine numbered editions being announced. This has got me thinking about my favourite shorts by Lynch and so today MMC! casts its spotlight on Premonitions Following an Evil Deed (David Lynch, 1995), a 52-second film made for the Lumière and Company anthology film (1995) celebrating the centenary of Auguste and Louis Lumière’s first films. Contributing shorts to the anthology used the original Cinématographe camera, were edited in-camera, could not be longer than 52 seconds, could not have synchronized sound, and were allowed no more than three takes. This eerie and foreboding short was filmed on five sets constructed at the house of Gary D’Amico, Lynch’s special effects co-ordinator. Premonitions is one of six restored short films included on Criterion’s edition of Eraserhead (David Lynch, 1977).
The Criterion Collection, a continuing series of important classic and contemporary films presents They Shoot Horses, Don’t They?
On the Santa Monica Pier, in the shabby La Monica Ballroom, a bizarre Depression-era fad unfolds – the dance marathon. A worn out collection of hopefuls (Jane Fonda, Michael Sarrazin, Susannah York, Bonnie Bedelia, Red Buttons, and Bruce Dern) compete in hopes that a Hollywood casting agent spots them or that they at least win the contest’s $1,500 cash prize. But the competition is a grueling public spectacle, lasting thousands of hours and taking weeks to proceed, leaving dignity and salvation farther and farther away. Based on Horace McCoy’s brutally poetic novel and featuring stand-out performances including Gig Young’s award-winning role as the marathon’s huckstering emcee, Sydney Pollack’s seminal film puts a cap on 1960s idealism and paints a bleak portrait of the American Dream that still resonates today.
- New 2K digital transfer, presented with uncompressed stereo on the Blu-ray edition
- Audio commentary by director and producer Sydney Pollack
- Audio commentary with Jane Fonda, producer Irwin Winkler, former president of ABC Pictures and talent agent Martin Baum, Bonnie Bedelia, Michael Sarrazin, Red Buttons, and legendary hair stylist Sydney Guilaroff
- New interviews with actors Jane Fonda, Bruce Dern, and Bonnie Bedelia
- New interview with film critic Kim Morgan
- New interview with filmmaker Sarah Gertrude Shapiro discussing They Shoot Horses and introducing her 2013 short film Sequin Raze
- Original featurette on the making of the film
- PLUS: A booklet featuring an essay by film scholar Scott MacDonald, composer John Green’s musical continuity notes, Pollack’s forward to the screenplay, and notes, pictures, and diagrams taken from Pollack’s shooting script; a new paperback edition of McCoy’s original novel
The Criterion Collection, a continuing series of important classic and contemporary films presents Thirty Two Short Films About Glenn Gould.
François Girard provides in this unconventional bio-pic a compelling and memorable exploration of Canadian musician Glenn Gould, arguably the 20th Century’s greatest classical pianist. Through thirty-two elegantly constructed vignettes mixing drama, documentary, animation, and avant-garde, Girard reveals glimpses of Gould as performer, recording artist, humorist, outdoorsman, speculator, recluse, and iconoclast. Taken together, Thirty Two Short Films About Glenn Gould offers a prismatic understanding of Gould’s complex genius and his personal struggles without dispelling the enigmatic power of his legend.
MMC! rounds out this proposed Tai Katô set with another film from the director’s tenure at Shochiku and arguably the best work considered here – Minagoroshi no reika (1968), otherwise known as I, the Executioner or Requiem for a Massacre. Of course, you don’t have to take my word for it; Tony Rayns shouts his admiration for I, the Executioner loudly from the rafters of the Time Out Film Guide.
Up there with Oshima’s Violence at Noon and Imamura’s Vengeance is Mine as one of Japan’s most disturbing anatomies of a serial killer, Kato’s shattering film eschews suspense (it confronts male violence against women head-on from its very first shot) in favour of mystery. What links the murders of five women with the suicide of a 16-year-old delivery boy? Plodding cops (one with a bad case of piles) investigate, and solarised flashbacks eventually provide a denouement, but the near metaphysical ending ensures that the mystery somehow lingers. Kato anchors it in location-shot observation of Tokyo’s quotidian realities, which makes the unorthodox approach to questions of sexual politics all the more bracing.
After emphasizing Tai Katô’s career with Toei, MMC! turns its attention to the director’s work with Shochiku studio. Otokonokao wa rirekisho (1966), also known by the astounding English titles By a Man’s Face Shall You Know Him and A Man’s Face Shows His Personal History, examines the grievances and burdens of post-war Japan through the lens of the bloody gangster film. Loud and short-tempered, Katô creates a man vs. yakuza tale that feels at once familiar and aesthetically irregular.
By a Man’s Face opens with its main character, Dr. Suichi Amamiya (Noboru Ando), standing in profile, a circular scar extending from the left corner of his mouth nearly up to his eye. In the background, his nurse asks of his intentions for his practice while construction equipment works outside his window, the post-war economic boom threatening to inevitably push him out of his current office. Amamiya’s prominent wound seems to declare the film’s title, although By a Man’s Face may also refer to the patient rushed into the doctor’s clinic. Emergency responders bring in a man severely injured in a motor vehicle accident, blood soaking through material of the stretcher transporting him. Amamiya refuses to treat the man, stating he has inadequate resources to save him, but his nurse pleads for him to intervene, pointing out that the prospective patient will surely not survive the ride to the closest hospital. Amamiya is firm in his view until he sees the injured man’s face, recognizing him as “Choi.” From there, the doctor begins treating Choi and their shared past is recollected in extended flashback sequences that attend to Japanese occupation and emasculation in the post-war context and the grievances held by Koreans brutalized before and during WWII.