Assbutt gish mascot3/17/2024 (UP TO 60 SECONDS) Everybody Chill… ash!? Turn out that x in axolotl, a Nahuatl word, is pronounced a little differently than our mascot’s name. She has Bette Davis's toughness combined with Lillian Gish's gift for pathos.Ĥ5. All of this melodramatic business is elevated not only by Ozu's sure-footed direction and attention to visual detail but also by the performances, especially that of Tanaka, who once again shows why she should be honored as one of the great film actresses. Joji persuades Tokiko that they should pull off one last heist, robbing from the office where Tokiko works to get cash so Hiroshi can pay back what he stole. Things get complicated, however, when Hiroshi, Joji's protégé, steals money from the cash register at his sister's store. She storms out, but later returns to persuade Joji that it might be a good thing to go straight. Tokiko gets jealous of Joji's interest in Kazuko, but when she decides to emulate her rival by taking up knitting and other domestic pursuits, she and Joji quarrel. American culture creeps in everywhere: Even the rules of conduct in a pool hall are written in English on the wall, and in the boxing gym that Joji frequents a sign proclaims the virtues of "The Manly Art of Self-Defense." When an eager young kid named Hiroshi (Koji Mitsui) shows up in the gym wanting to become a champion fighter, Joji takes an interest in him, and through him meets his sister, Kazuko (Sumiko Mizukubo), who works in a record store that prominently features the RCA Victor mascot, Nipper. This is one of Ozu's forays into the underworld made familiar to us by Hollywood, and it's permeated with echoes of Warner Bros. She shrugs off his advances but accepts the ring - she's living with a gangster, an ex-boxer named Joji (Joji Oka), and it's his world that she prefers. One of the typists, Tokiko (Kinuyo Tanaka), is summoned from her machine to the office of the president, where she finds his son, Okazaki (Yasuo Nanjo), who has been putting the moves on her by giving her jewelry, this time a ruby ring. In the last take, one of the hats drops from its hook, as if impatient for quitting time. Yasujiro Ozu clung to silent film for a long time, but who needs sound when you and your cinematographer, Hideo Shigehara, can use the camera as eloquently as they do in Dragnet Girl? Early in the film, the camera explores an office setting, panning over rows of young women at typewriters, clocks slowly ticking away the workday, and rows of men's hats hanging in a hallway.
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