What Ryan Gosling fatigue? He couldn’t have done fewer films

Hollywood heartthrob Ryan Gosling announced a break from acting, implying the film audience has had enough of him, in the same measure he needs “a break from himself.”

Gosling is also quoted as saying he has too much freedom and is given “enough rope to hang himself with.”

Image source: supernovo.net

Image source: supernovo.net

The actor’s recent comments feed suspicion that overexposure may be the stuff of this gripe. This is unfortunate given an unimpeachable filmography, except for endorphin abuse Crazy Stupid Love, where even his shirt-off objectification could find purchase as an intellectual exception.

There’s also a full-grown Ryan Gosling following that admits gentlemen. His fashion is no less overlooked in Drive, where even his bomber jackets acquired the dramatic quality of his subdued acting. GQ is as guilty as the man himself for giving him more rope, lapdogging his red carpet and paparazzi appearances with editorial approval for his outfits. Pajama tops for film premieres, sailor tanks, ukuleles, top hats, and all that animal loving — the ubiquity of Ryan Gosling is indeed for a leading man, but he doesn’t want to be one.

Image source: justjared.com

Image source: justjared.com

He did mention taking up a directorial debut. It’s too early to announce this as good tidings unless he’s also doubling for costume design. But no one can discount Gosling’s depth in Blue Valentine, a hairline-raising performance for an actor whose good looks, by being eschewed, could have only helped him boost his cinematic credibility. Apparently, if there’s anyone who’s not in love with him, it’s himself.

Image source: nydailynews.com

Image source: nydailynews.com

Actors like Ryan Gosling are saleable, but how would they fare behind the camera? They probably have similar struggles as aspiring filmmakers, like Samantha Poulswho is also an avid observer of cinema’s goings-on. See this blog to understand the pitfalls of birthing a film.


Yasujirō Ozu: The rebel filmmaker

Image Source: tasteofcinema.com


It always takes a long time before the Japanese art form to assault the grandiloquent consciousness of the West. The ethereal and macabre novels of Yukio Mishima—especially the The Sea of Fertility tetralogy or Hōjō no Umiand eccentric electro-jazz music of The Yellow Magic Orchestra had to wait years before they became known to the upper west side of the globe.


So did Yasujirō Ozu’s timeless films.


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Image Source: grapevinepics.com


Despite having an early fondness for American films, eschewing the trend of his time was Ozu’s favorite ball game. He—though not boldly—showed in his films how he loathed the conventions that Hollywood dictated. He preferred shooting continuous conversations to eyeline match wherein the audience sees what the on-screen character is seeing, a filmic storytelling he highlighted through breaking the 180-degree rule. A melodrama renouncer, he reconciled the conventionally unbearable continuous scenes present in his films with effectual narrative techniques by using ellipses—which he extensively developed in his 1949 drama Late Spring and his 1953 masterpiece Tokyo Story—or by cutting out enthralling scenes and transforming them into short dialogues instead.


Image Source: rosaliasulistya.blogspot.com


The camera positioning style—or the tatami shot, the shot and angle that represent the point of view of a Japanese kid, for according to him the world of corrupt moral and social orders can only be seen purely by an innocent kid—became a significant mark of Ozu’s career and filmmaking elegance. Over the years after Ozu succumbed to cancer, many young filmmakers attempted to employ the tatami shot in their films—some succeeded and countless failed—and some just became contented with paying homage to him.


Samantha Pouls, a big fan of the global film industry, is a junior high school student who is interested in the intricate process of filmmaking. This Facebook page can provide more updates of the other activities she loves being involved with.