The Puppetmaster directed by Hou Hsiao-hsien - 10/10
Before reviewing this film, I think I should mention that I have been going to a retrospective of all of Hou's films in New York and have been blown away by about half of his films. This was the second one in the series but I missed it because the train was having problems, and it is considered to be one of his best. So I decided to take a trip to Boston from New York in order to catch it where the retrospective was touring next. And yes this movie was worth that trip LOL. Once again this is Hou revolutionizing the historical film as he did with A City Of Sadness and Good Men, Good Women. And again he manages to make the historical personal without making it sentimental or nostalgic. In this case he films the story of one of his regular actors, Li Tianlu who happens to be a cultural icon/hero in Taiwan. The movie is a mix of scenes that stage events from Li's life, puppet performances, opera performances, and Li talking about his life to the camera (as well as voiceover). While this is not my favorite of Hou's films, I think it is the closest to achieving the level of realism he sought for. I always have made the argument that the two key aspects that a film needs to have to achieve an extra degree of realism is that it needs to have a respect for performance within a film, and it needs to have a respect for storytelling within a film and The Puppetmaster has both. In the film, the puppet performances are not a backdrop or a detail to the setting, they are an essential element to the film. Likewise, Li's anecdotes shared through interview and voiceover are essential to the film especially in creating humor. These two elements along with Hou's usual method of static long takes and elaborate staging make this film achieve a level of realism that I don't think I've seen in any other film in my life. After watching most of Hou's films now, I've decided to change my position on Hou that I made after seeing Flowers Of Shanghai for the first time. I said he was a rigorous formalist in the vein of Ozu, but now I think that he adjusts his form to the content he is trying to show so I would say he is a dynamic formalist that happens to have a certain range of topics that interest him (first the personal coming of age films, then the historical films, then the 'new generation' films along with the occasional gangster film). In this way he is probably more like Kurosawa, only his style/themes are a bit more consistent and seem more Ozu-esque in the way that it is focused on the mundane. Overall this film is one of my favorites by Hou, probably my second or third favorite in a list of many films that I consider to be masterpieces (I think 9 of them are).