Movies that take place on trains constitute a film genre of their own and there have been plenty of great ones over the years – The General (1926), The Lady Vanishes (1938), The Narrow Margin (1952), Snowpiercer (2013) – but I can safely say that Johanna D’Arc of Mongolia (English title: Joan of Arc of Mongolia, 1989), directed by Ulrike Ottinger, is the most unusual one ever made. Although it embraces the idea that travel can be a life-changing experience for everyone, Ottinger puts her own personal spin on this by addressing ideas about gender, history, personal empowerment and cultural traditions through a smash-up of popular genres. These include musical theater, campy soap operas, widescreen epics and ethnographic documentaries. It might sound like either a complete goof or pretentious nonsense (some detractors claim both) but it works as a one-of-a-kind hybrid, informed by Ottinger’s insights into human behavior and her own directorial eccentricities.
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Home Alone
No one wants to think about growing old, becoming infirm and having to rely on others for assistance, particularly after a life of relative independence. While some are lucky enough to have family and friends to help out, many elderly people have no one for support and are left to fend for themselves among strangers. The situation becomes even more desperate without savings or financial assistance. Certainly this isn’t a topic that the commercial cinema has often explored for obvious reasons and great films on this subject are rare indeed but occasionally a masterpiece has emerged. Vittorio De Sica’s Umberto D. [1952], Akira Kurosawa’s Ikiru [1952], and Yasujiro Ozu’s Tokyo Story [1953] are prime examples while a handful of other films remain memorable for the performances alone – Victor Moore and Beulah Bondi in Make Way for Tomorrow [1937], Art Carney in Harry and Tonto [1974] and Edith Evans in The Whisperers [1967], Bryan Forbes’s often overlooked and forgotten adaptation of Robert Nicolson’s novel, Mrs. Ross. Continue reading
