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Can there be any greater humiliation than having your work plagiarised and the other person’s being better? Renowned artist Tamura (Koji Ishizaka) feels he has to say something on seeing an old painting at an exhibition honouring his late mentor and realising it’s not the one he painted. He doesn’t think he ever had the ability to paint something with this kind of power even when he was young, and he didn’t even use the materials which appear to have given this version a emotional depth that the original never had.
In some ways, this is Tamura’s past literally coming to the service to show him that his life has been a series of mistaken choices and whatever success he may have achieved it’s come at the cost of his artistic soul. The first part of Setsuro Wakamatsu’s Silence of the Sea (海の沈黙,, Chinmoku no Umi) ponders why Tamura might be so keen to confess this work isn’t his when he admits that it’s objectively “better”, but even if that might be true, he has to concede it isn’t him and therefore shouldn’t have his name on it. Though he appears to have become greedy and vain, trading on his connections and more of a celebrity artist than someone with real and urgent ideas to express, he is apparently willing to burn all his bridges on the altar of authenticity while simultaneously refusing to divorce his wife, the daughter of his late mentor, despite living with another woman and their child on the other side of the country.
But as someone else says, does it matter whose name is on the painting when it is beautiful in itself? Then again, this beauty is intended both to cover something up and to expose it. In his youth, Tamura apparently threw another artist, Lyuji (Masahiro Motoki), under the bus. 40 years later, Lyuji is a master forger living a life in the shadows tattooing young women with his fevered artistic visions. It’s true enough that he seems to see them only as “canvases” and otherwise rejects personal connection while still carrying a torch for Tamura’s now wife Anna (Kyoko Koizumi). He seems to be stuck in the past, forever meditating on a particular pairing, The Silence of the Sea which reflected his own moment of trauma when his parents both drowned when he was a child.
The film seems to pain Tamura and Lyuji as two sides of the same coin. The more Tamura’s star rose, the sicker and more humble Lyuji became as if he were literally bleeding him dry. In the words of his assistant, Lyuji had an imperative to depict beauty, but art seems to deplete him. He literally vomits blood on the canvas while struggling to recreate his lost painting and thereby return to the source of his trauma. The sea for him seems to represent life and death along with the beauty and terror of life, while for Tamura it is perhaps merely picturesque even if for both of them the sun is always setting.
One man has almost painted over the other, stolen a life that might have been meant for him though his talent may lie more in an ability to play the game than in art itself. But at the same time, Lyuji has destroyed himself through his selfishness and single-minded obsession with his art along with the internal traumas it turns out he cannot simply paint over. His life is like the candle that Anna makes in his image, a life slowly melting away and producing only a single tear from a lonely soul. His eventual conviction is that beautiful things need only exist in our hearts and minds as memory rather than as material things. As he says, measuring art in money is mere foolishness, which paints his career of forgery as an ironic revenge against the art world which values only what’s popular and has become a game for the rich to play to enhance their status little caring for the nature of the art itself. Yet this covering up and later revealing of a truth has led to several deaths, among them a man who lived for art and a woman who yearned for love only to end up a scorned muse of an emotionally distant man. The sea took them all, but for Lyuji at least it may finally have fallen silent in the final perfection of his art.
Silence of the Sea screens as part of this year’s Japan Foundation Touring Film Programme.
Trailer (English subtitles)
Images: © 2024 Eiga Umi no Chinmoku INUP Co.,Ltd
Windows on Worlds 