“There’s still time until a war” runs the title of a play for voices at the centre of Nobuhiko Obayashi’s oscillating docudrama, Casting Blossoms to the Sky (この空の花 長岡花火物語, Kono Sora no Hana: Nagaoka Hanabi Monogatari). Asking why when presented with the opportunity to create something beautiful that gives joy and hope to all who witness it mankind chooses death and destruction, Obayashi considers responses to disasters manmade and natural and finds largely kindness and resilience among those determined to avoid the mistakes of the past while building a better tomorrow.
Set in the immediate wake of the 2011 earthquake and tsunami and inspired by verbatim interviews with local people, Obayashi’s elliptical drama sends an emotionally arrested newspaper reporter to Nagoka having received a letter from an old lover that calls her back into the past. Reiko (Yasuko Matsuyuki) broke up with Katayama (Masahiro Takashima) 18 years previously uttering only the cryptic phrase “we have nothing to do with war”, but travelling through her “wonderland” begins to realise that she and everyone else is in that sense wrong. No one is really entirely unconnected or untouched by the destructive effects of conflict and pretending that it’s nothing to do with you will not in the end protect against it.
“To the children of the future, from the adults who lived the past” runs the opening title card, making plain a fervent hope to connect the often unknowing younger generations who assume war is nothing to do with them with the traumatic past through the voices of those who directly experienced it. The play to which Reiko is invited is in itself a play for voices, an avant-garde theatre piece inspired by the verbatim speeches of residents of Nagaoka recounting their often harrowing experiences of the war apparently penned by a strange high school girl (Minami Inomata) who rides everywhere on a unicycle. The performance is set to take place in conjunction with the local summer festivals which include a series of fireworks displays commemorating lives lost in the bombing raids and symbolising a spirit of recovery following a destructive local earthquake some years earlier.
Obayashi draws direct comparison between the natural disasters of earthquake and tsunami, and the manmade disaster of war but discovers that ordinary people often react to them in the same way with a furusato spirit of mutual solidarity and kindness. One of Katayama’s students is a displaced young man from Fukushima who remarks on the kindness he experienced having been taken in by the town of Nagaoka, a kindness he hopes to repay someday when he is finally allowed to return to his own hometown just as the people of Nagaoka have done following kindness shown to them after the earthquake. The discrimination he faces as someone from a town affected by radiation calls back to that experienced by Reiko’s parents who were survivors of the atomic bomb that fell on Nagasaki, a location chosen by pure chance on a whim when poor weather made the primary target unavailable. Among all the horror of the wartime stories Reiko uncovers, there is also selfless heroism such as that of the young man bravely throwing water over those trapped in a burning air raid shelter.
“If only people made pretty fireworks instead of bombs, there wouldn’t have been any wars” a poet laments drawing a direct line between these two very different uses of the same material, a connection further rammed home by twin visits to a fireworks factory and atomic bomb museum. The “phoenix fireworks” become a fervent prayer, blossoms cast to the sky, in hope of a better, kinder future without the folly of war. “There are adults who think war is necessary” Katayama explains, “but not the children, of course. That’s why it’s up to the children to make peace”. Some may complain that in the rapid economic development of the post-war society something has been lost, but in times of need people are still there for each other forging the furusato spirit in contemporary Japan. Opening with a series of silent-style title cards, Obayashi’s overtly theatrical aesthetics may be comparatively retrained even while incorporating frequent use of animation and surrealist backdrops, but lend an ever poignant quality to this humanist plea for a more compassionate world in which the only explosions in the sky are made of flowers and hope not hate or destruction.
Casting Blossoms to the Sky streams in the US July 9 – Aug. 6 as part of Japan Society New York’s Tragedies of Youth: Nobuhiko Obayashi’s War Trilogy season in collaboration with KimStim.
Original trailer (English subtitles)