Throw away your books and rally in the streets

5.02  ·  2,104 ratings  ·  958 reviews
throw away your books and rally in the streets

Throw Away Your Books, Rally in the Streets - Harvard Film Archive

The film opens with an uncomfortably long black screen which has a subtle soundscape running behind it. What are we doing here, sitting in a dark room waiting for something to happen when the real action is, and always has been, out in the streets? It becomes clear that we are also trapped within the realm of his unrealisable dreams. He wanted to be a boxer but it frightened him so he gave up. He hears a story of a Korean boy who built a glider and tried to fly home on his own only to crash somewhere over the ocean. He envies the moments of blue skies the Korean boy flew through as the brief fulfilment of a dream. From this point on he builds a glider in his mind but is perpetually unable to launch finally seeing it too go up in flames.
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Published 06.01.2019

Throw Away Your Books, Rally in the Streets - Stuttering Scene

Throw Away Your Books, Rally in the Streets is a Japanese feature-length experimental drama film directed by Shūji Terayama. A metaphor for Japan's.

throw away your books rally in the street

A new one every day. The film shows the disintegration of a poor family at a time when all society is trapped in its pursuit of affluence. Although this is nowhere near Matsumoto or Hani in terms of the integrity of film form disjunctions, it is nonetheless, a mostly captivating vitriolic indictment on 'Coca-Cola' Japanese modernity. Terayama engages in his usual cacophony of odd obsessions with sexuality and male infantilism and although at points superficial his reflexive critique reaches the sublime during the last 15mins of Brechtean re discovery. Crazy stuff.

Conditions have been better for the nameless protagonist: his grandmother is a shoplifter and his war criminal father and sister have an unhealthy, intimate relationship with the family rabbit. Shuuji Terayama Eiko Kujo. Ichirou Araki J. Seazer Itsuro Shimoda. As the opening sequence has the protagonist speaking directly to us, embodying an eager sense of freedom devoid of impositions so long set by society and looking for a release after so much time, I identified. Three scenes later after the furious opening credits, this same young man is seen running over a railway in an endless reverse-moving tracking shot constantly shifting from left to right with the soundtrack playing loud.

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