If You Were Young: Rage highlights the other side of post-war Japanese prosperity, focusing on the throngs of young people who missed out on the boom. Rage against the machine - full show 3/29/92 - 2 camera shoot - zed records. If You Were Young: Rage highlights the other side of post-war Japanese prosperity, focusing on the throngs of young people who missed out on the boom. We follow a group of young men that can't seem to get ahead, despite their. Watch If You Were Young: Rage online at XFINITY TV. Find the latest on If You Were Young: Rage Movie including full episodes, clips, and more now. If You Were Young: Rage (1970) It’s a sad fact, but economic prosperity is built on the backs of people who will never get the chance to taste the fruits of their labor. In America, diverse ethnic populations that range from. If You Were Young: Rage (1970) Quotes on IMDb: Memorable quotes and exchanges from movies, TV series and more. The Killers - When You Were Young. Playlists werden geladen.. If You Were Young: Rage (1. It’s a sad fact, but economic prosperity is built on the backs of people who will never get the chance to taste the fruits of their labor. In fact, the film itself was thought to be lost or, at best, obscured by the genre fare that Fukasaku was much more famous for until his Batoru Rowairu (Battle Royale), made in 2. Western cinephiles a hunger for all things Fukasaku. Although he had gone outside and shot on- location before, it was with If You Were Young: Rage that Fukasaku truly indulges in capturing, with his lens, scenes of Japan, from the modern buildings and skyscrapers to the simple beauty of the seas which surrounded the country’s shores. Fukasaku’s camera lingers on the everyday banal activities of the working class and If You Were Young: Rage at the very least is a wonderful cinematic document of 1. Japan. Asao (Gin Maeda) and Kikuo (Tetsuo Ishidate), the main characters of the story, are unlike the typical Fukasaku protagonist in that they are not part of the criminal milieu nor can they be categorized as being apathetic or nihilistic. In an interview done right before his death Fukasaku elaborated on the film’s genesis and the central themes within the film. Banking on the popularity of a television series, Wakamono Tachi (Live Your Own Way), Fukasaku’s production company, Shinsei Eigasha, was inspired to translate the show into a workable film. Tackling the topic of criminality within the ever- growing youth culture of Japan Fukasaku found himself in a very difficult spot. Whereas his producers were looking towards making a film which offered up youthful characters and a positive outlook on life Fukasaku saw nothing but a bleak future. As soon as Asao and Kikuo begin to branch out and move up in the economic ladder, though, they begin to find their bonds to their former comrades as troublesome and soon their view of their friends quickly turns bittersweet. It’s a telling sign that the only friend they have any fond memories of is Ryuji, whose death practically cemented his stalwart place in Asao and Kikuo’s memories. Robbed of a father figure to guide them during their adolescence, Asao and Kikuo are in a state of arrested development, and, as he did before and would continue on with his later films, Fukasaku traces our need to create bonds and form friendships as a way to create makeshift families and fill that emotional void in our lives. With all this said, though, Asao and Kikuo are not beaten down from all that they’ve suffered. Fukasaku’s camera is constantly moving, tracking the action with kinetic hand held shots that are reminiscent of cinema verite, and combined with the familiar use of freeze- frames, color filters, jarring cuts, and canted angles give the audience a real visceral experience. A recurring image that runs throughout the movie and can be seen in Fukasaku”s non- Toei productions is the use of the sea as a visual motif. In Blackmail Is My Life, the sea is a playground. Then, in his 1. 96. Kurobara no Yakata (Black Rose Mansion), the beach becomes a place for emotional revelations with the brooding loner Wataru (Tamura Masakazu) finally confessing his feelings to femme fatale Ryuko (Akihiro Maruyama) and then passionately making love to her on the sand with the waves crashing against the shore as they finally consummate their love.
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