Good-for-Nothing

1960 [JAPANESE]

Action / Crime

0
IMDb Rating 6.9 10 348

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Synopsis


Uploaded By: FREEMAN
November 07, 2021 at 09:01 PM

Cast

720p.WEB 1080p.WEB
806.09 MB
1280*544
Japanese 2.0
NR
23.976 fps
1 hr 27 min
P/S counting...
1.46 GB
1920*816
Japanese 2.0
NR
23.976 fps
1 hr 27 min
P/S counting...

Movie Reviews

Reviewed by boblipton 3 / 10

As The Title

Hizuru Takachiho is the secretary of a boss who is ruthless in business but genial otherwise. On her way back from the bank with the regular payroll, she's waylaid by her boss' son and his four college buddies, forced into a car, and the money is taken from her. It's all a practical joke, but she gets angry. When she goes home, she has to listen to her brother and his wife bicker about money.

Eventually she decides that one of the four students is worth saving. This leads her down a path of teenage angst, apathy, and gangsters-are-cool culture that infects her viewpoint.

It's Yoshishige Yoshida's first film as a director. He also wrote the screenplay, his first. Like other leaders of the Japanese New Wave, he told stories of nihilistic young men. In this one, the story glories in that attitude, leaving me with the sensation that if they don't care about their future, there's no reason I should. Japanese cinema has long had a habit of telling stories of failure, making explicit the Japanese saying that "the nail that sticks up gets hammered down." However, pending on a nail that is already bent flat seems to me a boring exercise.

Yoshida's later works became more conventional, to the point where he wrote and directed a version of WUTHERING HEIGHTS.

Reviewed by DICK STEEL 7 / 10

A Nutshell Review: Good for Nothing

Unfortunately I had missed Boy, the opening film of this year's Japanese Film Festival focused on the theme of Youth because I had to prioritize the Singapore film Sandcastle over it, so my jump point into the festival proper over the next one week is Yoshishige Yoshida's very first film Good for Nothing, made for the Shochiku studio. For a 1960 film and a debut feature at that, it boasts of very solidly defined framing, composition and camera movement that underlines the adage that they don't make things like they used to.

The storyline, on themes such as emptiness and boredom these days get lazily translated on screen into dallying, lingering shots by cameras that do not move, or have it just gaze into long shots of nothing under the hands of wannabes. Yoshida had a very defined way of allowing space for the characters to live and breathe while tackling such ideas, that nothing on scene rings out as an iota of waste. Character development also got weaved admirably as we follow the lives and times of four detestable characters and see how most of them change over the course of the film.

Yoshida's tale involves a pack of four idle youths who do nothing but to leech off the success of some of their wealthy dads, cruising around in an American made car, and constantly building sandcastles in the air when not monkeying around in the rooms of one of their homes. Fun means to play around with the feelings of others, to stage mock robberies, or party at a swanky hotel club. As the weather turns for the worst in Summer with a heat wave of sorts, it means jetting off to the beach and soaking it up in the cool ocean waters.

Not bad a life, if you ask me, with nary a care in the world. However, not all animals, as they are labelled wolves here, are created equal, and while two of the four friends come from wealthy families that can fuel their shenanigans and escapades, the other two are working class who struggle and are willing to seize opportunities that come their way, which sets up the destination and finale of the film, about how those who don't and looking for a quick shortcut have to resort to some form of crime to fuel their addiction of a richer lifestyle.

What's interesting here is the romantic subplot involving that of one of their victims, the secretary of a friend's rich dad who's quite the fearless female type, having to fall for one of the four who had rescued her from a socially embarrassing situation plotted by the team. It's like forsaking his mates for the flower amongst the thorns, and like what I think some girls do when they fall for bad boys – they fantasize about being able to transform their character for the better through love. I'd say it doesn't work all the time, otherwise we'll never get to know how a leopard fails to change its spots. But it makes for an engaging distraction aside from the usual laidback stuff that we see the four friends get themselves into.

The opening credits will scream for your attention through its beautiful arty design and jazz music that will pepper the soundtrack, and I can't stress enough of how I dig the film's look and feel through its excellent cinematography right up to the frenetic pacing of the final scene that to a modern audience, ends abruptly. Yoshishige Yoshida has his second film lined up in this year's festival as well, and I'm quietly eager to see how his technique will evolve or change.

Reviewed by richardchatten 6 / 10

The Domino Effect

By 1960 the Japanese economy had recovered sufficiently for the malaise to reach them that had already been afflicting restless postwar youth in the West; where it had been finding cinematic expression (among many, many others) in Britain in 'The Blue Lamp', Italy in 'I Vitelloni', America in 'The Wild One' and France in 'Les Tricheurs' that affluence and increased leisure didn't in themselves bring contentment and peace of mind.

The young men in Yoshishige Yoshida's extremely accomplished debut feature learn the hard way - like Dirk Bogarde ten years earlier in 'The Blue Lamp' - that waving guns around isn't big, isn't clever, and ends in tears.

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