discusses his screen test for , plus read ‘s Criterion essay:

Fassbinder is an artist of artifice. His tale is set in the 1950s, but clearly uses cars from the 1970s, for example. A flashback to Morocco near the film’s end is so wildly unreal it feels better suited to a Pasolini movie. But the truth of a Fassbinder film is different from that of his Italian counterpart; the pains of emotion are at the vortex, and the straining to keep happiness alive in a society that feels rigged against Hans is what drives Fassbinder to work with staccato rhythms. Fassbinder’s pointedly telling camera movements — such as two symmetrical pans left and right during a crucial family dinner near the end — expose a type of theatrical stasis to his stifling universe. But, most importantly, Fassbinder exposes the emotions as real, what Thomas Elsaesser, writing in the Criterion essay, calls “the faux-naive sincerity beyond irony,” turning these rhythms into something that makes Han’s final suicidal gesture both comic and intensely upsetting. The numerous whiskey shots for each wrong in his life suddenly jolts us to the past — to real pain, and real remembrance, even though it is the fakest scene in the movie. And, with one final line, we see the process begin once again.

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You might know the remake of this film better than Yojimbo itself. Clint Eastwood and Sergio Leone retold it as A Fistful of Dollars. I’ve not actually seen A Fistful of Dollars, but this is the second time I’ve seen Yojimbo. While the film isn’t as deep or ripe for critical analysis as many of Kurosawa’s other works, it also isn’t as shallow and anticlimactic as the Criterion Essay indicates. Alexander Sesonke states that:

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instructor will often make a single Criterion essay title and prompt for all students

(Criterion essay by Geoffrey O'Brien)

The essay by Graham Fuller is gorgeously long and a great read, though I've very rarely met a Criterion essay I didn't like

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