I only got out to see two of the Janus films at Walter Reade this week, but both are exceptional productions.

The Makioka Sisters is a wrenchingly slow-paced melodrama that borrows heavily from Ozu (shot construction, elliptical editing - even the central narrative concern of the marrying off of an independent-minded young woman). The film is not without problems - at times its pacing seems too deliberate, and the film indulges in black-and-white flashbacks that are, frankly, misguided. But it’s incredibly moving at times, for much of the same reason that Ozu’s films are so moving for me - a perfect sense of editing rhythm, and a gliding interest between narrative and powerful non-narrative visual elements.

The Organizer is shatteringly powerful. Borrowing equally from the Neorealist tradition and the precise aestheticism of American melodrama, The Organizer is Mario Monicelli’s (whose Big Deal on Madonna Street is the only other film I’ve seen of his) thoroughly humanistic take on the struggle of factory workers in late 19th century Torino to unionize. Mastroianni stars as the leftist professor who stirs up talk of unionization in the town, an idealistic outsider without an understanding or appreciation for the potential damage such a strike will have on the workers. Let’s get this clear from the start: this is one of the most overwhelmingly beautifully shot films I’ve ever seen, with incredibly rich black tones and a dizzying depth of field in the factory sequences. It’s also got some incredible performances from its cast, largely composed of non-actors. The one weak link in the whole thing is Mastroianni himself, whose performance as the professor is far too mannered - all huffs and passion and slouched shoulders, a caricature of academia. Still, seek this film out - don’t be surprised if it’s a Criterion Collection release in 2006. I know it’ll be a great addition to my collection.

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