"Away with Words" is something of a film with no home. With the exception of Tadanobu Asano, nearly everything and every person is out of place...with even Asano not quite where he should be.
Asano (Asano himself) is a Japanese man from the remote (and very beautiful) island of Taketomi in southern Okinawa. As a boy he developed a knack for associating words with all things so that meaning became an abstract concept unique to him. Giving him a good memory, he leaves his quiet life for Tokyo to work in alcohol sales, before setting off on a ship for Hong Kong.
It is here he winds up in a gay dive bar run by Brit Kevin (Kevin Sherlock). Kevin has a terrible memory and a knack for being woken up still drunk by police officers. As part of the routine, he will call on Susie (Mavis Xu) who works in his bar. All the while, Asano has made the bar his home, staying in a velvet booth that brings him fond memories of home.
And that is pretty much that. We are treated to Kevin's ramblings to himself - a mind a mess of mis-memories and misinformation. Asano and Susie also provide their inner monologue on memories of their pasts and how they have ended up in this gay bar in Hong Kong.
Cinematographer Christopher Doyle, taking on the role of director for the first time, switches between Hong Kong, Tokyo and Taketomi...and possibly Brighton, with little in the way of linear narrative or structure. A multinational production, this sees an Australian cinematographer direct and co-write the script with a British translator and film critic (Tony Rayns) with a cast made up of Japanese, British and Australians as well as Hong Kongers.
This is, therefore, a very global and post-modern work that throws a lot in your direction, but it's a struggle for much of it to stick. Asano and Kevin's word association can be difficult to get your head around, before you realise just to go with it. This also has a large music video element with various dance scenes and performances in the bar featured throughout. It's all a little bit much and not really going anywhere.
Doyle as cinematographer, however, is comfortable in his role, and delivers his usual skilful performance doing what he does best, with photography worthy of great posters, at times reminiscent of his work on "Happy Together". But perhaps this is a little too cool. There are some very nice visuals to watch, but, much like Asano, you perhaps have to place your own meaning on to them.
What is evident here is that a lot of people are working outside of their usual realm. It is directed by someone who isn't a director; written by a cinematographer and a critic; acted by people who wouldn't really have much of a filmography beyond this. Asano is the only actor working as an actor, though in a foreign language and location, perhaps making him the perfect choice for this, often working outside of Japan.
It is clearly people who know how to make great cinema, or at least know what makes great cinema, but perhaps need some better guidance. The end credits see Doyle credit Wong Kar-wai for 'staying away.' He clearly takes a lot of inspiration from his long-time collaborator, but doesn't quite know how to put it into action.
The final scene sees Susie and Asano collect Kevin from yet another polices station. They swap chairs; the one nearest the camera allowed to speak their mind. Perhaps if cast and crew has stayed in their seats "Away with Words" would have more cohesion and work better. The two strongest elements are Doyle's cinematography and Asano's film star cool, which is them sticking to their day jobs.
This is a holiday in a guest house: it's a break from home, in somebody else's.
politic1983.home.blog
Asano (Asano himself) is a Japanese man from the remote (and very beautiful) island of Taketomi in southern Okinawa. As a boy he developed a knack for associating words with all things so that meaning became an abstract concept unique to him. Giving him a good memory, he leaves his quiet life for Tokyo to work in alcohol sales, before setting off on a ship for Hong Kong.
It is here he winds up in a gay dive bar run by Brit Kevin (Kevin Sherlock). Kevin has a terrible memory and a knack for being woken up still drunk by police officers. As part of the routine, he will call on Susie (Mavis Xu) who works in his bar. All the while, Asano has made the bar his home, staying in a velvet booth that brings him fond memories of home.
And that is pretty much that. We are treated to Kevin's ramblings to himself - a mind a mess of mis-memories and misinformation. Asano and Susie also provide their inner monologue on memories of their pasts and how they have ended up in this gay bar in Hong Kong.
Cinematographer Christopher Doyle, taking on the role of director for the first time, switches between Hong Kong, Tokyo and Taketomi...and possibly Brighton, with little in the way of linear narrative or structure. A multinational production, this sees an Australian cinematographer direct and co-write the script with a British translator and film critic (Tony Rayns) with a cast made up of Japanese, British and Australians as well as Hong Kongers.
This is, therefore, a very global and post-modern work that throws a lot in your direction, but it's a struggle for much of it to stick. Asano and Kevin's word association can be difficult to get your head around, before you realise just to go with it. This also has a large music video element with various dance scenes and performances in the bar featured throughout. It's all a little bit much and not really going anywhere.
Doyle as cinematographer, however, is comfortable in his role, and delivers his usual skilful performance doing what he does best, with photography worthy of great posters, at times reminiscent of his work on "Happy Together". But perhaps this is a little too cool. There are some very nice visuals to watch, but, much like Asano, you perhaps have to place your own meaning on to them.
What is evident here is that a lot of people are working outside of their usual realm. It is directed by someone who isn't a director; written by a cinematographer and a critic; acted by people who wouldn't really have much of a filmography beyond this. Asano is the only actor working as an actor, though in a foreign language and location, perhaps making him the perfect choice for this, often working outside of Japan.
It is clearly people who know how to make great cinema, or at least know what makes great cinema, but perhaps need some better guidance. The end credits see Doyle credit Wong Kar-wai for 'staying away.' He clearly takes a lot of inspiration from his long-time collaborator, but doesn't quite know how to put it into action.
The final scene sees Susie and Asano collect Kevin from yet another polices station. They swap chairs; the one nearest the camera allowed to speak their mind. Perhaps if cast and crew has stayed in their seats "Away with Words" would have more cohesion and work better. The two strongest elements are Doyle's cinematography and Asano's film star cool, which is them sticking to their day jobs.
This is a holiday in a guest house: it's a break from home, in somebody else's.
politic1983.home.blog