"It takes one liter of petrol and 20 minutes. "Go and ask an undertaker or the guy who operates the crematorium what it takes to get rid of a dead body," he told the New York Times in 2003. Hutton Gibson is also outspoken in his views that the Holocaust never happened, or at least not to the degree that historians maintain. Hutton Gibson, 87, is a leading proponent of what is called Catholic traditionalism, a canon that rejects the changes to Catholicism made during the Second Vatican Council of 1962-1965, which the elder Gibson once called ''a Masonic plot backed by the Jews.'' 12 blood alcohol level, the 50-year-old actor lashed out at "f-ing Jews" and said that "the Jews are responsible for all the wars in the world." Gibson had asked a sheriff's deputy, "Are you a Jew?"Īfter the story broke on Saturday, Gibson issued a statement apologizing for his behavior and for having "said things that I do not believe to be true and which are despicable," but none of those sentiments seem all that detached from the views of the actor's father. And in the form of Keita Ninomiya, Kore-eda has a child actor so unbearably cute he'll make your ovaries ache, even if you're sporting testicles.J— - Are a drunk man's words a sober man's thoughts, as the old proverb teaches? A police report filed over the weekend about an alcohol-fueled anti-Semitic tirade by actor Mel Gibson has renewed interest not only in the opinions of the famous filmmaker but also in those of his father.Ī Los Angeles Sheriff's Department report states that when Gibson was arrested early Friday morning for speeding with a. It's charming, gently humorous, and beautifully attuned to the interior lives of children. What makes this nearly flawless film work, though, as the two families make their way to a solution, is that it's far from a pedantic screed. Kore-eda is smarter than that, subtly illustrating that class concerns matter precisely because of how they inflame (or engulf) the emotions of everyday life. Too many intellectuals dismiss questions about identity as being secondary or irrelevant to the politics of class.
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The men's personality differences manifest clearly along class lines, and are at the heart of the film's questions regarding what makes a parent, what constitutes a family, and how to define non-monetary success.
The other father, a laid-back electrician, lives almost hand-to-mouth but is a teddy bear with his adoring wife and kids. One family is headed by a wealthy, abrasive architect used to getting his way. Two Japanese families are ruptured after learning that their six-year-old sons were switched at birth. It adds up to a layered, complex thesis that Kore-eda, in his artful, thoughtful style, turns into moving poetry. Those include the roles nature and nurture play in shaping children's personalities the gender roles of parents and how the adults' careers shape the emotional tenor of a household. The seemingly innocuous school interview that opens writer-director Hirokazu Kore-eda's sublime Like Father, Like Son is actually a master class in foreshadowing, as its banal questions and calculated answers turn out to be carefully laid tripwires for the thematic concerns of the film.
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