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Pictured: Johnny Solo as Gino and Ryan O'Callaghan as Jack Anderson in 79 Parts: Director's Cut - Photo Credit: Ari Taub Pictured: Johnny Solo as Gino and Ryan O'Callaghan as Jack Anderson in 79 Parts: Director's Cut - Photo Credit: Ari Taub

Film

Why you should watch Johnny Solo as Gino in ’79 Parts: Director’s Cut’

Photo Credit: Ari Taub

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Actor Johnny Solo gave a breakout performance as horse track race swindling, easy livin’ Gino in new comedy film, 79 Parts: Director’s Cut.

The following article contains minor spoilers for 79 Parts: Director’s Cut.

Every once in a while an actor catches your attention by playing a character that feels so true to life, it’s like a person you’ve already met. Johnny Solo’s performance in 79 Parts: Director’s Cut harkens back to raw, old school humor, the type you’d see in a 70s-era Israeli Bourekas film or even Jackie Chan’s 1978 picture, Drunken Master. The lovable, sort of lazy, creative hustler always looking to pull a quick ‘combina’ (fast one) instead of working. It’s a universal formula, we all know someone like this at some point of our lives… Yet, we can’t help but befriend them. For all his trouble, Gino spells excitement and opportunity in lead character Jack Anderson’s [Ryan O’Callaghan] life.

Sure Gino’s methods are gray area, usually less on the legal side but his confidence throughout the film is infectious. Simply put, you want to believe, and sometimes the quarter comes up Tails in life like he promised. Early on in the film, Gino’s pal Jack lets it slip that the race Gino bet on (and won) was fixed, leading to a viewer comforting chase scene by the other gamblers.

Pictured: Johnny Solo as Gino and Ryan O’Callaghan as Jack Anderson in 79 Parts: Director’s Cut – Photo Credit: Ari Taub

Comfortable in the sense that you can just turn your mind off and enjoy, no lengthy metaphors and allegories to ponder. The late night comfort food of cinema if you will. The appetizing chase instantly attracts curious onlookers, gazing over what you’re watching on the tube. The type to ask for just one fry but end up staying for the whole movie.

Johnny Solo’s character is defined by his body language and physicality. Mildly reminiscent of Seinfeld’s Kramer in the way he physically embraces those closest to him, arm on the shoulder and such… And has absolutely zero inhibition! He goes to the track with an obvious fake beard in tow, has no qualms about wearing risqué, silly clothing, or pilfering a stand for it. Gino is as gritty as can be and direct about his ‘me first’, often self-centered behavior.

Pictured: Johnny Solo as Gino in 79 Parts: Director's Cut - Photo Credit: Ari Taub

Pictured: Johnny Solo as Gino in 79 Parts: Director’s Cut – Photo Credit: Ari Taub

When Gino tells Jack he’s got another horse tip after Jack just got a very shady, risky loan from his uncle, he informs him, ‘It’ll help me… Okay, we’ll split it you’ll get something too.’ The selfish nonchalance of it all is what makes Gino a fun character. At the same time, you can tell he has the best of intentions for his friend, as long as it benefits him in some way first.

Even when Gino discovers his best buddy just got married to a girl named Anna, his first thought is why he finds out the info last. He’s relentless in trying to figure out if pal Jack has business with his uncle that he’s cutting him out of the loop from. During all of this, Gino is fully aware that he ‘kind of screwed’ Jack over prior but can’t help putting himself first.

Pictured: Johnny Solo as Gino and Daniela Mastropietro as Anna in 79 Parts: Director's Cut - Photo Credit: Ari Taub

Pictured: Johnny Solo as Gino and Daniela Mastropietro as Anna in 79 Parts: Director’s Cut – Photo Credit: Ari Taub

[Spoiler Warning:]

The delightful Italian accent of Anna played by another film standout in Daniela Mastropietro, perfectly compliments Gino’s vagabond roughness later on. Gino attempts to pull another fast one with a doctored wedding album to help his friend’s sham marriage out. However, Anna is not a fan, immediately sensing they’ll be caught and presenting a drawing Jack made instead. The smile on Gino’s face when giving the doctored photo album to immigration says it all. A total comedic contrast to Anna’s worry that she’ll be sent of the country. It’s what makes each scene Gino is in fun and wholly unpredictable.

[End Spoiler]

Likewise, Gino’s relationship with his uncle Dennis [Aidan Redmond] is what complete’s his arch. Despite Jack seemingly looking up to Gino, uncle Dennis sees him for what he is. Always reluctant to help him out and trying to figure out what his nephew’s angle is. One of the best parts of the film is when Dennis sends his nephew to dig randomly, without informing him what he’s digging from. Gino shovels aimlessly as punishment, unknowingly looking for a lost wedding ring. A wedding ring that Dennis’ wife Vera [Lisa Regina] demands be found, no excuses.

Johnny Solo’s character Gino is one you’d like to see again in a sequel or on a weekly TV sitcom. The kind of character where you’re curious what shenanigans they’re up to this week. That’s not easy to craft in any performance, comedic or not. Selling believability is an acting skillset not to be taken lightly.

79 Parts: Director’s Cut Film Trailer and Info

79 Parts: Director’s Cut is available now on Amazon, iTunes, Google Play, and YouTube.

Visit the 79 Parts: Director’s Cut official website for more information about the film which features Oscar nominated actor Eric Roberts and a landlord guest role by Sandra Bernhard. 79 Parts: Director’s Cut is a Safier Entertainment and Factory Film Studios film by Hit and Run Productions. The film was directed by Ari Taub with the screenplay / characters being penned by Mario Radosta along with Chuck McMahon and John Ramaine.

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Stanley Kubrick

Watch MoMI ‘Envisioning 2001’ Presentation with Katharina Kubrick

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Katharina Kubrick speaks at 'Envisioning 2001: Stanley Kubrick's Space Odyssey Exhibit' Press Presentation at New York's Museum of the Moving Image - Photo Credit: Nir Regev / The Natural Aristocrat
Photo Credit: Nir Regev / The Natural Aristocrat

Katharina Kubrick was a featured speaker at the Museum of Moving Image’s ‘Envisioning 2001: Stanley Kubrick’s Space Odyssey’ Exhibit Press Presentation.

Stanley Kubrick’s daughter Katharina Kubrick took part in a Q & A with media attendees during a full fledged presentation of the MoMI’s prized exhibit. Kubrick, discussed Stanley’s legacy, the timeless nature of 2001: A Space Odyssey, and a desire to open more such exhibitions around the world. Barbara Miller (MoMI Director of Curatorial Affairs), Ellen M. Harrington (Director of Deutsches FilmInstitut Filmmuseum), Tomoko Kawamoto (MoMI Director of Public Information), and Eric Hynes (MoMI Curator of Film) all introduced the esteemed new addition to the Museum of the Moving Image in Queens, New York.

Envisioning 2001: Stanley Kubrick’s Space Odyssey will take over MoMI’s Changing Exhibitions Gallery from January 18 – July 19, 2020. A special exhibit Introductory Discussion with Katharina Kubrick takes place tonight (Jan. 17th) to lucky ticket holders at 7 pm sharp.

Katharina Kubrick answers The Natural Aristocrat’s question at 28:50 (timestamp) about Stanley Kubrick’s brave choice to drop composer Alex North’s already completed 2001 soundtrack in favor of classical pieces he’d used as temporary music. Katharina discussed Stanley’s deep connection to music as a whole, and a certain Waltz he listened in the editing room of 2001: A Space Odyssey.

“If you think about the film, everything is spinning and whirling and very slow and graceful. So a Waltz worked perfectly.”

Katharina elaborated further on just how vital the use of music is to a film, naming Spartacus‘ soundtrack as one she wasn’t highly fond of.

“Music is terribly important, and very emotional. I think a lot of people use music badly. I watched Spartacus recently and I thought the music was appalling! And completely overwhelming and in the way of the movie. Stanley’s films used music to enhance the scene or to be the scene.”

Be sure to check out The Natural Aristocrat’s tribute article to Barry Lyndon’s use of Handel’s ‘Sarabande’ as a prominent piece overlaying the film.

Follow Katharina Kubrick on Twitter and Instagram. Learn more about the Museum of Moving Image’s ‘Envisioning 2001: Stanley Kubrick’s Space Odyssey’ Exhibit at this link and book a visit today!

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Film

Japan Society: ‘Tora-san Meets His Lordship’ 4K Restoration Impressions

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Japan Society's 4K Film Restoration of Tora-san Meets His Lordship (1977) - From left to right: Kanjûrô Arashi as Tonosama and Kiyoshi Atsumi as Torajirō Kuruma - Photo Credit: © Shochiku Co., Ltd.
Photo Credit: © Shochiku Co., Ltd.

Japan Society presented a fresh 4K restoration of 1977 film ‘Tora-san Meets His Lordship’ last month, a picture that truly teeters on the tightrope between comedy and tragedy.

While Tora-san Meets His Lordship’s 4K restoration at Japan Society opened to roaring crowd laughter with a quaint parody right off the gate… The film soon descended into the depths of calamity and ego humiliation that could make a Greek tragedy playwright blush. If Tora-san’s Runaway pulled the band aid of Tora’s hope for love right off, Tora-san Meets His Lordship might as well have taken an arm and leg. It’s teased in the movie that Tora will finally be given a real chance at romance and marriage. That the sun gently dances with him instead of upon him for the first time.

It’s all an elaborate ruse to trick both Tora and the audience as the picture soon pulls the rug out from under its plucky hero and its followers… Then kicks them out the door to a desolate, unforgiving cold world. Their only possession? A non-refundable bouquet of roses with no one to give it to. Though Torajiro ‘Tora’ Kuruma played by actor Kiyoshi Atsumi is happy go-lucky in nature, the ‘loss of face’ in this picture is astronomical.

From his family not so secretly naming a stray dog after Tora, to being made to feel he will never be good enough to win a wife’s hand at the film’s conclusion. That any figurative ring will forever stay in its box, gathering dust… As yet another suitor is forever picked over him. All the while Tora has to pin a smile on his face out of polite civility. A mental torture of an exercise seemingly drawn up in the depths of an imagined Hades. Tora, the perennial vagabond has to eternally watch others enjoy dinner and courtship together through a window.

Tora-san Meets His Lordship’s strategic ploy to game the audience

Tora-san Meets His Lordship (1977) – Kyōko Maya as Mariko Tsutsumi – Screenshot/Photo Credit: © Shochiku Co., Ltd.

Mariko Tsutsumi [Kyôko Maya], a widow, is at the heart of Tora’s affections in Tora-san Meets His Lordship. Initially, Tora is asked by a local daimyō (Feudal style Lord) named Tonosama [Kanjûrô Arashi] to help him located his recently deceased son’s widow. At first, Tora takes the search in stride, deciding on a youthful plan to literally visit every residence, house, or store until a ‘Mariko’ is discovered. Just when Tora’s resolve begins to waver after hours of searching the first night, Mariko happens to show up on her own. Tonosama is called upon to meet Mariko while Tora is slowly but surely falling love with her.

Tonosama sheds tears, commenting that Mariko must have taken great care of his son before his passing. In a letter penned later in the film, he invites Mariko to live with him at his mansion-like residency. Even requesting she marry a new husband, with an exceptional specific recommendation. At first Tora’s rage is brewing inside of him, worrying at who this ‘chosen one’ would be… Until a sparkling revelation that the Lord’s recommendation for Mariko’s new husband is Tora himself!

Tora-san Meets His Lordship (1977) – Kanjûrô Arashi as Tonosama – Screenshot/Photo Credit: © Shochiku Co., Ltd.

Tora’s sister Sakura [Chieko Baishô] decides to personally deliver the request to Mariko’s work place, sans mention of marriage but with a hint of an additional request. Mariko arrives to Tora’s household to politely decline the request to move to the Lord’s house as she’s recently fallen in love with another worker. Shattering Tora’s heart into a million pieces to be swept off the floor casually, broom in tow, out of civility. Tora and his sister Sakura never mention the Lord’s request of Tora as her new husband. He simply sits smiling out of necessity, nothing left inside.

Tora-san Meets His Lordship (1977) – From left to right: Kyōko Maya as Mariko Tsutsumi and Kiyoshi Atsumi as Torajirō Kuruma – Screenshot/Photo Credit: © Shochiku Co., Ltd.

Tora-san Meets His Lordship ends on a comedic high-note of the Lord Tonosama wanting Tora to live with him anyway even without Mariko… And Tora wanting to leave as soon as possible as he’s chased by Tonosama’s assistant to stay. The real meat and potatoes of Tora’s struggle however, somebody to love him back, remains unresolved. A distant hope, that becomes more dream than reality everyday.

Be sure to read The Natural Aristocrat’s impressions of Tora-san’s Runaway 4K Film Restoration at Japan Society!

NYC locals! Follow along Japan Society’s busy Film Schedule and attend a future film screening.

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Film

Tora-san’s Runaway 4K Film Restoration at Japan Society Impressions

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Tora-san's Runaway - Pictured from left to right: Aiko Nagayama as Setsuko, Kiyoshi Atsumi as Torajiro Kuruma, and Chieko Baishô as Sakura Suwa - Photo Credit: © 1970 Shochiku Co., Ltd.
Photo Credit: © 1970 Shochiku Co., Ltd.

Tora-san’s Runaway returned to the silver screen 49 years later after its 1970’s debut in crisp 4K at New York City’s Japan Society last Friday. The dark overtone message of the comedy film? Hard work doesn’t necessarily pay off at all. Romantic, fairy tale style endings are for the imagination. Tora-san’s imagination that is…

This article contains spoilers for Tora-san’s Runaway.

Tora-san’s Runaway is an exhibit of fallacy in the promise of hard work always paying off. Throughout the film, lead character Torajirō Kuruma is pushed by his sister Sakura Suwa to make an honest living. That a man is meant to toil under the sweat of his brow. She urges Tora-San to stop living day-to-day, lackadaisically wandering through life, with no true planning for the future. 

Tora-san takes his sister’s words to heart, knowing she wants the best for him… In fact, Tora-san takes the words so literally, he desires a job where he ‘can sweat and become oily’ over the course of the work day. Thus, Tora-san played by star Kiyoshi Atsumi, decides to reform his street life ways, first superficially through wearing a sharp suit and hat. Then eventually by taking a job selling fried Tofu. More on that later!

Initially, he consults with his uncle Tatsuzō, aunt Tsune, and sister Sakura on the most fitting job for him over dinner. His uncle suggests tempura if he wants to get “oily working” but Tora-san waves the idea off. Making it clear he dislikes tempura. Tora-san’s uncle is already skeptical of Tora-san’s grand, seemingly overnight promise to change… 

Lack of uncle Tatsuzō’s blessings for Tora-san

Tatsuzō, played by Shin Morikawa, is not exactly the biggest supporter of Torajirō, outside of getting him out of the house. At the onset of the film, Tora-san’s aunt plays a relatively cruel practical joke on him… Informing Tora his uncle was about to pass on over a phone call.

Tora-san wants to do right by his uncle, and actually sets up all funeral arrangements… Only to discover his uncle is completely fine and well, just sleeping. As a result, his uncle is embarrassed by local town residents arriving to grieve and pay their respects.Though Tora-san’s uncle is mad at his wife for leading the practical joke in the first place, he is furious at Tora-san. Stating he’d rather be dead that have to see him. Even getting a full blown makeshift rope noose around his neck to make a statement. A vulnerable, weakened Tora-san decides to leave but more than hints he’d like someone to stop him, and sister Sakura [Chieko Baisho] obliges.

Why Tora-san really decides to change his life

Tatsuzō later goes to see his old boss, who’s actually dying… And has a railroad conductor son who refuses to see him. At first, Torajiro pushes and pushes for the railroad conductor to go with him and his vagabond street pal to see his dying boss. However, after the railroad conductor speaks of how he went to see his father once in his youth, only to see his dark side, beating on someone… Tora-san gives up silently. This moment changes Tora-san’s life. His boss passes on and never sees his flesh and blood to apologize, which his son called a selfish demand.

Tora-san tells his fellow vagabond street pal to leave, go back home to his father. In fact, hitting him when he wants to stay with Tora-san. From this point forward, Tora-san returns to his sister’s words and wants to be the type of person she spoke of. Instead of drifting through life and ending up like his boss.

Reality Hits for Torajirō Kuruma

After being rejected for several local jobs post-reform, Tora-san leaves in shame to the next town over. There the people don’t know of his reputation, and he gets a job as a bicycle-riding fried tofu salesman. The true apple of his eye, however? His new boss’ peer-aged daughter, Setsuko [Aiko Nagayama] who seems to take a liking to Tora-san. She laughs at all his jokes and visits him each night. Tora-san works harder than ever, and proudly tells his sister he might settle there over the phone.

Tora-san’s Runaway – Pictured from left to right: Aiko Nagayama as Setsuko and Kiyoshi Atsumi as Torajiro Kuruma – Photo Credit: © 1970 Shochiku Co., Ltd.

Everything seems to be going in storybook fashion for Tora-san, his sister was right all along… Or was she?

A local tofu costumer arrives for dinner one night when Torajirō is at his most happiest… Torajirō had been asked the prior night if he’d be willing to stay on with the family’s Tofu business on permanent basis instead of as a replacement. When he said yes, Setsuko was grinning from ear to ear, telling Tora-san how happy he’d made her. 

Tora-san comments at his most confident that the tofu costumer reminds him a lot of his sister Sakura’s husband Hiroshi [Gin Maeda]. A smiling Setsuko then explains how she and the ‘customer’ (a railroad conductor) had actually been meaning to get married for a while now. However, they needed a replacement at her mother’s tofu shop. Setsuko’s mother Tomiko [Tokuko Sugiyama] tells Torajirō they need to find a nice girl for him too, what type does he like? He replies, “someone like you” joking but crushed.

Moonlight Devastation and a Broken Heart

Tora-san’s Runaway – Pictured from left to right: Aiko Nagayama as Setsuko and Tokuko Sugiyama as Tomiko – Photo Credit: © 1970 Shochiku Co., Ltd.

The next day, a devastated Tora-san heads back home. His sister chases him down as he leaves his uncle’s residence for a moonlight aimless walk. Tora-san earnestly tells her how he tried so hard but the honest life is not for him, holding back tears. He reunites with his younger vagabond pal the next day on the beach. 

The more Tora-san attempted to escape his fate, the more life pulled him right back on track to his destiny. No happy ending to be found. In fact, Setsuko seems partially oblivious why Tora-san left in the middle of the night. Only starting to comprehend the feelings Torajirō held for her… But she does not go searching for him in some kind of audience warming epiphany. Rather, the credits roll just as Tora returns to the comfort of his old life. Hard work failing him.  



The 4K Restoration Film Screening of Tora-San’s Runaway occurred on November 1, 2019 in New York City’s Japan Society. A new 4k screening of film, Tora-san Meets His Lordship, will be playing at Japan Society on December 6, 2019 at 7 p.m. EST. Purchase tickets to the event at this link.

Follow along Japan Society’s busy Film Schedule as part of their Tokyo Stories: Japan in the Global Imagination series.

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