Black Lizard (黒蜥蝪, Kinji Fukasaku, 1968)

“Are you a critic?” asks the proprietress of of a lively night club, “Why?” replies a lonely man sitting at the bar, “Beauty fails to intoxicate you” she explains before wandering off to find a prettier prize. Nevertheless, a connection has been forged as two masters of the craft confront their opposing number. Black Lizard (黒蜥蝪, Kurotokage), based on the 1934 story by Edogawa Rampo, had been brought to the screen by Umetsugu Inoue in 1962 in a version which flirted with transgression but was frothy and fun, adding a touch of overwrought melodrama and gothic theatricality to Inoue’s well honed musical style.

Inoue’s version had been co-scripted by Kaneto Shindo and Yukio Mishima who had also written the stage version. Once again crediting Mishima’s stage adaptation, Fukasaku’s 1968 take on the story is, as might be expected, far less interested in class connotations than it is in notions of love, beauty, and aestheticism. Consequently, we open in a much harsher world, dropped straight into Black Lizard’s edgy nightclub which Akechi (Isao Kimura), Edogawa Rampo’s famous detective, has visited on a friend’s recommendation. He is shocked to read in the paper the next day that a young man he saw in the club has apparently committed suicide, while another article also mentions the shocking disappearance of a corpse from the local morgue. 

Meanwhile, Akechi is brought in on a retainer to protect the daughter of a wealthy jeweller who has been receiving threatening letters informing him of a plot to kidnap her. Unlike Inoue’s version, Iwase (Jun Usami) is a sympathetic father, not particularly demonised for his wealth. Rather than drinking too much, he simply takes his sleeping pills and gets into bed without realising that his daughter is already missing. As transgressive as ever, however, Black Lizard (Akihiro Miwa) wastes no time sizing up Sanae (Kikko Matsuoka), running her eyes over the “splendid curve” of her breasts and lamenting that beautiful people make her sad because they’ll soon grow old. She’d like to preserve that beauty forever, convinced that people age because of “anxieties and spiritual weakness”. The reason she loves jewels is that they have no soul and are entirely transparent, their youth is eternal. Now Black Lizard has her eyes on the most beautiful jewel of all, the Egyptian Star, currently in the possession of Iwase which is why she’s planning to kidnap Sanae and ask for it as a ransom. 

Though the Black Lizard of Inoue’s adaptation had been equally as obsessed with youth and beauty, she was a much less threatening presence, never actually harming anyone in the course of her crime only later revealing her grotesque hobby of creating gruesome tableaux of eternal beauty from human taxidermy. This Black Lizard is doing something similar with her “dolls”, but she’s also cruel and sadistic, not particularly caring if people die in the course of her grand plan even running a sword firstly through a body she believes to be Akechi’s, and then through a minion completely by accident. She picks up Amamiya (Yusuke Kawazu) in the bar because of his deathlike aura, his hopelessness made him handsome, but once he fell in deep love with his “saviour” she no longer found him beautiful enough to kill. 

Akechi, meanwhile, is captivated by her in the same way Holmes is captivated by Irene Adler. He admires her romanticism, and recognises her as someone who thinks that crime should come dressed in a beautiful ball gown. She, by turns is drawn to him but perhaps as to death, each of them wondering who is the pursuer and who the pursued but determined to be victorious. Casting Akihiro Miwa in the female role of Black Lizard adds an extra layer of poignancy to her eternal loneliness and intense fear of opening her heart, finally undone not by the failure of her crimes but by a sense of embarrassment that Akechi may have heard her true feelings that leaves her unable to go on living. 

Meanwhile, Amamiya attempts to rescue Sanae not because he has fallen in love with her, but because he too is drawn towards death. Showing the pair her monstrous gallery of taxidermy figures of beautiful humans, she pauses to kiss one on the lips (played by Yukio Mishima himself no less), leaving Amamiya with feelings of intense jealousy and a longing to be a cold and inanimate shell only to be touched by her. “Sanae”, meanwhile, who turns out to be a perfect mirror in having being picked up at rock bottom by Akechi for use in his plan, guides him back towards life. They did not love each other, yet their “fake” love was set to be immortalised forever as one of Black Lizard’s grim exhibitions. She wonders if the fake can in a sense be the real, that they may free themselves from their respective cages through love in accepting a romantic destiny. For Black Lizard, however, that seems to be impossible. Akechi has “stolen” her heart, but she cannot take hold of his, holding him to be a cold and austere man who has “trampled on the heart of a woman”. “Your heart was a genuine diamond” Akechi adds, lamenting that the true jewel is no more. Black Lizard meets her destiny in a kind of defeat, too afraid of love and the changes it may bring to survive it, but paradoxically grateful that her love is alive while taking her leave as a romanticist in love with the beauty of sadness. 


Opening and titles (English subtitles)

The General’s Mustache (장군의 수염 / 將軍의 수염, Lee Seong-gu, 1968)

General's Mustache posterBroken dreams of the post-war society prove too much for one man to bear in Lee Seong-gu’s masterpiece of Korean Modernism – The General’s Mustache (장군의 수염 / 將軍의 수염, Janggun-ui Suyeom). Adapted from the novel by Lee O-young, Lee’s film co-opts the procedural but subtly subverts it, taking a cue from the film noir to turn it in on itself and ask if we can truly ever know another person, or if we simply conjure an image of everyone we know based on a collection of external observations gathered by ourselves and others. Our hero, Cheol-hun (Shin Seong-il), is a melancholy man who has chosen to live in a world of his own creation but when his shield of artifice is pierced by a spear of reality he can endure it no longer. Cheol-hun is dead, but who, if anyone, killed him and can we ever really understand why he died without his words to guide us?

Lee opens with a scream as Cheol-hun’s landlady discovers his body, draped half naked over his bed next to a stove with the safety cover removed. Concluding that carbon monoxide poisoning is likely the cause of death, the police find the panicked landlady suspicious but leave with three clues – a ladies’ stocking, a missing camera, and the scar on Cheol-hun’s forehead. The stocking takes them to Cheol-hun’s ex, who tells them that Cheol-hun gave his camera to a “nude model” which was perhaps a point of tension between the two, but not apparently the reason they decided to separate. The scar, ruining the detective’s (Kim Seung-ho) theory, turns out to be an old one – received in infancy when his exhausted mother (Han Eun-jin) dropped an iron on his head after a long day at the press.

After the testimony from Cheol-hun’s mother, the scar seems incidental but turns out to be anything but. Cheol-hun’s mother blames herself for his childhood injury (as any mother would) and has spent her life worrying about him, believing that the scar itself has been the cause of all his misfortune and sent him off on an unlucky path. From Cheol-hun’s sister (Kim Sin-jae) we learn that the family was once wealthy – local landowners who valued their “aristocratic” blood. After the war all that ended. The land was given back to the people, and Cheol-hun’s family were stripped of not only of their prestige but of their means of living. Nevertheless, Cheol-hun’s austere father refused to let his children play with the “commoners”, and so little Cheol-hun’s loneliness was born.

The testimony of Cheol-hun’s former boss reinforces the view that Cheol-hun was an eccentric loner, ill equipped for life in the “real” world. A former photojournalist, Cheol-hun lost his job as a result of a disastrous interview with a recently returned scholar who had enjoyed some minor success in America. The scholar, having been abroad five years, peppers his speech with random English and puts up a pretence of having forgotten his Korean. He complains that Korean kimchee is too spicy, and suggests that the key to improving the “backward” nation lies in “reforming” the cuisine. Cheol-hun, becoming ever more irritated, offers a few barbed comments but cannot contain himself when the kids, “John” and “Mary” who do not speak any Korean, arrive. American names, he points out, are usually associated with dogs and sex workers – why would you give them to your children if you plan to live in Korea? Needless to say, the interview is over.

Cheol-hun has now been characterised as a man who cannot read the air, but it’s time to hear from him too though it will have to be second hand. Shin-hye (Yoon Jeong-hee), the girlfriend, radically changing under testimony broadly agrees with this view of the man she loved but could no longer live with. Cheol-hun told her that he’d never been good with people and had no real friends save one in the army – interestingly enough a man descended from royalty, but that he died leaving Cheol-hun alone again with the lingering guilt that he was unable to save his only friend. His tragedy is that he yearns for true connection, to truly become one with another person, but he cannot achieve it. His life with Shin-hye crumbles not because of “reality” but because Shin-hye craves the real – to live in the real world where people bleed and hurt. She cannot live with Cheol-hun in his escapist paradise, but he cannot bear to leave it.

The title of the film comes from the book that Cheol-hun wanted to write. In the story, a victorious general fighting for “independence” returns to his “liberated” country. The general is dashing and brave and he has on his face the most magnificent mustache. A weedy reporter giddily asks him if he too might dare to grow such a wonderful mustache to which the general cooly assents. Before long a mustache craze sweeps the nation. Even those who cannot grow a mustache of their own have taken to wearing wigs, but our protagonist says no. He doesn’t want a moustache and refuses to wear one. He loses his job, but it remains open whether the fact of his not having a mustache (which no one forces him to have) or his melancholy loneliness in not wanting to have one and not understanding why everyone else does is the cause of all his suffering. 

The quote at the film’s beginning, painted on Cheol-hun’s maddeningly crowded walls, reads “I refuse to, That’s why I’m alive”. Yet it isn’t quite a refusal so much as a lack of capacity. Cheol-hun’s boss had a point when he said that Cheol-hun was fundamentally unsuited to living in human society, as did Shin-hye when she described him as a lonely child in need of a guardian. If anything killed Cheol-hun, it was loneliness – a revelation which profoundly shakes the conviction of the veteran detective. After all, you can’t put handcuffs on spiritual isolation. The detective thinks of his family, and decides to take a watermelon home to share with them as means of reinforcing his own shallow connections but it’s clear that his conception of the world, of his abilities as a detective and the entire framework of his existence have been irreparably compromised by his investigation into the life and death of Kim Cheol-hun.

Partly a satirical swipe at post-war conformity, Lee’s film also subtly subverts a popular trope from the anti-communist genre in its apparent sympathy for landlords. Cheol-hun’s loneliness is posited as a direct result of his “fall” from his rightful position – the only friend he ever makes is also a fallen nobleman, and he struggles to adapt himself to the “classless” society of the “democratic” era. Yet it’s precisely these outdated ideas of “class” that have ruined his life in his father’s refusal to let him play with the other children. Cheol-hun retreats to a fantasy childhood world to avoid the harshness of modern life, but cannot escape his loneliness or his longing and when he realises Shin-hye is not the soulmate with whom he thought he could forge a new, perfectly isolated paradise, his entire existence becomes impossible.

Lee conjures a mosaic of Cheol-hun composed of the memories of those around him, gradually thickening in texture and finally coming into focus but always only a simulacrum of a man and not the man himself. Adopting a standard procedural narrative, Lee adds in extensive flashback and hypothetical dramatisations as the police investigate, switching to black and white for raw hypotheses and even breaking into elegantly drawn animation to recreate the surreal world of Cheol-hun’s putative novel. Dark and sad, The General’s Mustache seems to imply that there is no answer for solitude, that you can never really know another person fully, and that the loneliest man of all is the one born without a “mustache”, already naked of face in having no final mask to expose but finding that no one wants to see his true self only the one which is demanded he wear to appear just like everyone else.


The General’s Mustache is the third film included in the Korean Film Archive’s Lee Seong-gu box set. Also available to stream via the Korean Film Archive’s YouTube Channel.

Diary of a Shinjuku Thief (新宿泥棒日記, Nagisa Oshima, 1969)

Shinjuku thief posterIn Sing a Song of Sex, Nagisa Oshima had lamented the depressing decline of political consciousness among the young who remained so preoccupied with their sexual desires that they’d forgotten all about the revolution. In Diary of a Shinjuku Thief (新宿泥棒日記, Shinjuku Dorobo Nikki), once again a story told through song, he examines the same problem from the other side – if repressed desires frustrate the battle for social change, then perhaps the sexual revolution must precede the political.

Our “hero” if you can call him that, is a man calling himself “Birdey Hilltop” (Tadanori Yokoo). Birdey gets off on shoplifting books from the huge Kunokuniya bookstore in Shinjuku. One day he is caught by a feisty young woman, Umeko (Rie Yokoyama), who we later discover is merely posing as an employee in one of the film’s many acts of role play. Umeko drags the shoplifting Birdey up to see her “boss”, Mr. Tanabe (the real life boss of Kunokuniya playing “himself”), who, to be honest, isn’t very interested in dealing with a petty thief but is quite interested in this strange pair of awkward young people and becomes something between invested audience member and accidental director in setting them off on a journey to explore the nature of their peculiar sexualities.

These largely seem to lean on the idea of anonymous theft, that neither Birdey nor Umeko are able to accept the reality of altruistic connection and value only that which is actively taken (preferably in secret). Umeko allows herself to be “stolen” in skipping out on already arranged date with a man who had threatened to take what he wanted by force to undergo an unfulfilling sexual experience with Birdey which nevertheless provokes in her a desire to shatter the realities of time and space. Given money to enjoy themselves, neither of the pair quite want to accept it – the idea of splitting it amicably isn’t appealing, or perhaps the magnanimity of insisting the other take it all more pleasurable, but neither of them want anything that isn’t in some way a transgressive transaction.

Yet perhaps what it is they long to steal is an identity. Neither Birdey nor Umeko has been entirely truthful with the other and they are each only too happy to inhabit various other roles as they act their way through life. The final apotheosis of the self occurs solely in the theatrical realm but apparently carries a level of essential truth which finally allows the pair to integrate their identities into a comfortable whole which liberates their bodies from sexual repression and perhaps becomes a kind of revolution of its own.

Nevertheless, their strange journey is massaged by a number of dubious guides from the sex therapist who reaches a series of bizarre conclusions based on little more than appearance and vague reactions to classic pornography to the gentle machinations of Tanabe who eventually declares himself too old for this particular game, and the entire legacy of world literature which crowds their heads with competing thoughts and leaves no room for originality. During their “therapy” session the pair are encouraged to get literally naked in front of the analyst who correctly points outs that they are each wearing masks (though his eagerness to see them disrobe does not seem entirely innocent) while also poking and prodding at their various dualities – Birdey is too “effeminate” and Umeko “too strong”, their gender atypicality apparently the root of all their problems. Birdey wonders if on some level he would rather be a woman, and if Umeko would rather be a man before deciding to search for himself on the stage.

Another of the dubious mentors, avant-garde stage performer and legendary figure of the Japanese underground theatre movement Juro Kara makes frequent appearances throughout the film strumming a guitar and singing a song about Alibaba while dressed in a deliberately gaudy modern take on traditional stage costuming. One of several real life figures Oshima cast in the film, Juro Kara more than any of the others is here to remind us that everything we see is affectation – something Oshima further rams home with his jarring transitions from elegant black and white photography to oversaturated colour filled with the deep red of passion and desire. Frequent title cards, surrealist imagery, rapid shifts in tone and style, and a free floating approach to narrative – Oshima out Godards Godard and even if his messages are obscure in the extreme, his images hold their power all the same.


Diary of a Shinjuku Thief was screened as part of the Japanese Avant-garde and Experimental Film Festival 2018.

Opening sequence (no subtitles)

The Descendants of Cain (카인의 후예 / 카인의 後裔, Yu Hyun-mok, 1968)

Descendents of Cain poster 1Yu Hyun-mok, often regarded as among the more “intellectual” of film directors in Korea’s Golden Age, is also among those to have been arrested for violation of the Anti-Communist laws. Yu was later exonerated and went back to filmmaking as before but it remains true that Yu betrays a little more ambivalence to the anti-communist message so often required than many of his colleagues. That is to say, Yu often leans economically left in his frequent criticism of social inequality and his anti-consumerist stance, but remains socially conservative if with a strong desire for social justice. The Descendants of Cain (카인의 후예 / 카인의 後裔, Kainui Huyea), adapted from a novel by Hwang Sun-won, is as anti-communist as they come, but also offers its share of ironies in painting “communism” as a kind of disease born of greed and self-interest which thrives on fear and eventually consumes those who are seduced by its false promises.

Irony is indeed our starting point as our cheerful villagers enjoy a raucous celebration in honour of Independence Day only for the communists to suddenly turn up and spoil the party. Worst of all, one of the communists is a long lost son of the village – Choe is the absentee husband of Ojaknyeo (Moon Hee), a maid, who has developed an affection for her boss, the nephew of the local landlord, Park Hun (Kim Jin-kyu). The communists’ first action is to close down the school that Park Hun opened to provide education for the peasants and co-opt it as their base. Park knows he’s in a dangerous position and has little power to resist, opting to wait it out and see how far the communists really intend to go. The peasants, however, are becoming excited hearing about the land redistribution programme and are starting to forget everything that Park and his family have done for them over the generations, swayed by the false promises of the communists who preach equality while insisting on deference.

The central conflict is, in many ways, between the feudal past and the “democratic” future. Set in what would shortly the “the north” in 1946, Descendants of Cain positions itself on more than one kind of dividing line with the lingering spectre of tragedy always on the horizon. High on a ridge there’s a large stone slab erected as a memorial to the late Park, Park Hun’s grandfather, whose solicitous care for the villagers had earned their eternal respect and perhaps their love. The Parks are “good” landlords. They take their “feudal” responsibilities seriously as evidenced by Park Hun’s school and his father’s desire to finish construction on the local reservoir which is both his legacy and an important failsafe precaution against draught which is in the interests of all. By all appearances this is a well functioning village where no one is hungry or alone. The peasants have not felt “oppressed” or been unhappy, which is not to say they don’t want to better their lot but they have no burning desire for revolution and have nothing in particular to rebel against.

This leaves the communists with a problem – they have little leverage over happy peasantry which has never acknowledged its own oppression let alone longed for freedom from it. Their approach is therefore one of divide and conquer. Cynical in the extreme, the communists set about exploiting petty village disputes to foster discord between people – something which eventually contributes to a murder which they also manipulate for political gain. The “landowners” are of course a prime target, but their judgement must be at the hands of “the people” by means of a farmers’ trial. Having recruited something close to a former village leader, the communists assume they will have the villagers on side but they all (bar two) refuse to indict the Parks. The communist leader, fond of irony, gestures towards towards his armed men and reminds the villagers that no one here is “impinging on their freedom”. That is, their freedom to express the views they are required to express or suffer the consequences.

Threatened with violence and intimidation, feudal deference bends or perhaps shifts to a different master. The villagers, losing their attachment to the Parks, salivate over the possibility of “redistribution” and of being handed “free land”. Their desires are material and not political. Thus when the Parks’ estate is “returned” to the people, they simply walk in and start taking things. Not the most sensible way to redistribute wealth concentrated in the hands of the elite – the fast get horses, the indecisive dented pans which sounds like a recipe for rancour and discontent. When the old village chief becomes disillusioned with his choices and smashes the memorial to old Park, a small fight breaks out among villagers keen to snag the large pieces of stone for various other projects. Happy peasants who once shared everything and wanted for nothing, are now fighting with each other over rubble and trinkets.

The communists, far from fostering collective spirit, have become the evil feudal lords they rail against, oppressing the peasants with their rules and regulations while wilfully creating an atmosphere of fear in order to better oppress them. Their hypocrisy is rammed home early on by the slimy Cheol who complains about his wife’s supposed faithlessness while molesting a barmaid and smugly repeating the story of a large scar he has on his forearm. His superior, believing he got the scar during a labour dispute at a mine, promoted him for his communist spirit, but Cheol really got the scar in a scuffle over a girl (not his wife, incidentally).

Cheol is “a” force which comes between the two lovers, Ojaknyeo and Park Hun, as both are too morally upright to pursue a full romance when Ojaknyeo is still married to another man, even if the other man’s first action on seeing her is to throw her to the ground and begin kicking the living daylights out of her. Later Ojaknyeo gets another, more serious, beating from her father but this time because she’s chosen the wrong side in refusing to step away from the feudal world in her responsibility to Park Hun and his household, even if that responsibility is partly romantic desire. Yet Park Hun and Ojaknyeo are also separated by the feudal world’s rules in their obvious class difference. Communism is supposed to break down these barriers, not to mention removing the “patriarchal tyranny” of marriage, yet the communists would rather award Ojaknyeo to her former husband, little caring that he is abusive and neglectful. Ojaknyeo, at least, will not be freed from her oppression any time soon.

If Yu is making a mild defence of paternalistic feudalism as a metaphor for compassionate government, it is probably a little ambitious given the times in which he lived. Following a regular pattern, Yu paints the world as a terrible place where fear and self interest trump all, only to find small rays of light in the closing moments when an act of violence provokes a series of unexpected epiphanies and reconciliations. He ends on a note of hope in which an older man sacrifices himself for a younger one but is then rewarded with the possibility of salvation and a happier future with the woman he loves (and is now unafraid to pursue) south of the border. Communism seduces and betrays, whereas liberal democracy at least affords the “freedom” to be miserable with personal integrity.


Screened as part of the Korean Novels on Screen season at the Korean Cultural Centre London.

Three Resurrected Drunkards (帰って来たヨッパライ, Nagisa Oshima, 1968)

Three Resurrected Drunkards posterThe pop star movie has a long and distinguished history in Japanese cinema, but one might not have expected it to include Nagisa Oshima – a legendary iconoclast and conscientious objector to this particular strain of pop culture frivolity. Then again, taking a much hated form and turning it in on itself as a multifaceted form of protest is exactly the sort of thing one might expect Oshima to do. Therefore we find him in 1968 teaming up with The Folk Crusaders – a folk rock band enjoying a sudden flash of popularity after pressing their own indie record and seeing it go gold when radio stations picked up their North Korean themed Imujingawa and turned it into a giant hit. The band’s best known hit remains Kanashikute Yarikirenai which was released the same year, but it was perhaps Imujingawa with its melancholy Korean theme which attracted Oshima’s attention. A Monkees-esque surreal pop-star vehicle, Three Resurrected Drunkards (帰って来たヨッパライ, Kaette Kita Yopparai) is the third and most direct (strangely) in a series of films critiquing Japan-Korea relations, pushing further into the contemporary era with additional questions to ask about American imperialism and the complicity of both nations in the ongoing conflict in Vietnam.

Three students, played by the three members of The Folk Crusaders, frolic on a beach recreating the famous Vietnam war photo of General Nguyen Ngoc Loan executing a prisoner in the street, before stripping off to go swimming. While they’re enjoying the waters, a hand rises up from beneath the sand and exchanges their clothes for a set of Korean military uniforms and some cash. The boys put on the strangers’ clothes and try to go home, but run into trouble when they try to scam an old grandma running a tobacco stand by pretending to have forgotten the price of cigarettes has gone up by 10 yen, assuming a dotty old grandma out in the sticks might not know anyway. Instantly suspicious, and seeing as this is “crack down on stowaways week”, the grandma tips off the authorities. After all, no Japanese person could be unaware of the rise in the price of cigarettes, so our heroes must be the “them” everyone is looking for.

What transpires is a surreal adventure of mistaken identities and rampant xenophobia in which our three students become temporarily transposed with their Korean counterparts – a draft dodging corporal trying to escape being sent to die in Vietnam, and his friend who’s come with him in the hopes of getting into a Japanese university. The third student, “Beanpole”, gets to keep his “Japanese” identity as a kind of control, but finds himself punished alongside his “Korean” friends as they face the harshest of punishments in this increasingly cruel and arbitrary world.

The three “stowaways” are then chased by the “real” Koreans who want to kill them and fake their own deaths to become Japanese. Later the three turn the tables on their pursuers but find themselves unable to pull the trigger because “Koreans don’t kill other Koreans”. In a bold piece of narrative reframing, Oshima abruptly resets the narrative halfway through, literally “resurrecting” our three drunkards who are instantly aware of what’s going on and determine to do things differently this time around – offering the grandma the right money, not taking the Korean uniforms with them when they leave the bathhouse etc, but they still get caught by the “real” Koreans and manage to survive only by “becoming” Koreans themselves, owning their new identities and rejecting their Japaneseness whilst turning their captors’ questions back on them and accusing them of being Japanese.

Meanwhile, the students take to the streets for an extended voxpop session in which they ask the question “are you Japanese?” to which all of their interviewees reply “No.”, asked “so how’s that then?”, they all calmly state it’s because they’re Korean. Aside from a pointed shot at a Westerner, Oshima seems to be making the rather banal point that Japanese and Koreans cannot be distinguished visually despite what some rather ignorant people might think – hence the identity confusion resulting from putting on “Korean” clothes, but he goes a little further in muddying the waters with a comparison between ongoing American imperialism and that of the Japanese past. Koreans in Japan experience oppression and xenophobic racism, but their nation as a whole also suffers from external oppression born of their government’s reliance on America for military support in the event that their truce with the North will someday be broken. Hence they find themselves packed off to another controversial war killing other Asians at the behest of a foreign government and its intense cold-war paranoia. 

Japan of course is also subject to this same oppression in reliance on American military power and so is also complicit in the horrors of Vietnam. These twin threads meet not only in the melancholy folk song penned by The Folk Crusaders, but in the final image which sees the executed Vietnamese man replaced by a Korean “stowaway” and the soldier by a Japanese policeman. Concentric circles flash in and out but Korea is always left in the middle, suffering at the hands of external powers, though Oshima remains largely silent on that presented by the authoritarian government of the day save criticising its determination to cling to American military might. A pop star movie with a title named for one of the band’s biggest hits – the high pitched and cartoonish Kaette Kita Yopparai which is itself a nonsense adventure of silliness, Three Resurrected Drunkards is a psychedelic treatise against systemic prejudices, complicity, and the seemingly inescapable cycle of geopolitical manoeuvring such prejudices fuel and enable.


Original trailer (English subtitles)

Imujingawa

Take Aim at the Police Van (13号待避線より その護送車を狙え, Seijun Suzuki, 1960)

o0500070913581105946Nikkatsu’s main stock in trade during its 50s/60s heyday was the youth movie – films which captured the frustrations of being young (and usually male) in the scrappy post-war years. It’s a surprise then that the hero of Seijun Suzuki’s “action” movie Take Aim at the Police Van (13号待避線より その護送車を狙え, Jusango Taihisen Yori: Sono Gososha wo Nerae) is a genial middle-aged man who’s more Cary Grant in North by Northwest than Japanese James Dean. A programme picture, there’s nothing particularly interesting about the movie on paper but it’s among the first in which Suzuki indulges his talent for the surreal including a number of fantastically choreographed action sequences.

The film opens with a warning as a sniper trains his sights on a set of road signs which state that many accidents have occurred in this area. The one which is about to befall unlucky prison warden Tamon (Michitaro Mizushima) is however entirely man made. Momentarily confused by the figure of a woman watching the bus from the roadside, Tamon is blindsided when the sniper opens fire and kills several of the passengers while another, Goro (Shoichi Ozawa), cowers in the back. Tamon is suspended for six months but isn’t particularly upset about it. He’s not a detective and he knows he should leave it to the professionals, but he’s desperate to know why someone would bother attack such a lowly crew of petty criminals. Wondering who the woman was and how she fits into the case, who the snipers were aiming for and if they got them, and perhaps wanting to assuage his own feelings of powerlessness during the attack Tamon gets on the case.

Tamon is not your typical Nikkatsu action hero. He’s a little on the old side for starters – hardly the marquee face the studio was beginning to favour with its collection of “Diamond Guys”. He’s also not a policeman or a detective, he has no idea what he’s doing or what he’s getting himself into. What Tamon is is a righteous man. Almost immediately he’s sucked into the seedy underbelly of late ‘50s Tokyo with its strip clubs, trafficked women, and petty gangsters. This world is alien to him and he’s disgusted by it. Meeting the female manager of the “talent agency” which supplies in-room strippers to sleazy hotels where businessmen go when they’ve told their wives they’re at a conference, Tamon is horrified to hear her admit she thinks of the girls as “merchandise”. He pauses to explain to her that he always thought of the felons he looked after as “humans” rather than “criminals”, no matter what it was they’d done. Such naive humanitarianism is too much for Yuko (Misako Watanabe) – she’s instantly smitten, which is a problem because it means she needs to play both sides of her own game.

The pair end up in an uneasy alliance as Tamon’s goodness begins to work its magic. An unlikely white knight, Tamon finds himself wanting to save all the ladies threatened by “Akiba’s” dastardly plan from the icy charms of Yuko to Goro’s cabaret girl Tsunako (Mari Shiraki), and another young one, Shoko (Kyoko Natsu), about to get sucked into the Akiba web. What he discovers is a nasty trail of exploitation running from the bars and clubs of the city centre to the genial holiday spa towns where the moderately wealthy travel to pursue their discrete pleasures.

Tamon may be a little older than your average Nikkatsu action star, but he’s also a perfect fit for a film noir hero in wrong man mould. Tamon is not on the run, but he is out of place in this world, perhaps harking back to a presumably more innocent age where honesty and compassion still counted for something. He views his job as a prison warden as a public service, believing that there is goodness in everyone and it’s the job of people like him to find it and bring it to the surface. This he does at least seem to accomplish with Yuko who (despite her role in events so far) seems to have “reformed” and intends to follow Tamon’s lead in taking her “talent agency” in a more legitimate direction. 

Suzuki often claimed that Youth of the Beast was the first of his films where he was able to fully embrace his madcap desires, but Take Aim at the Police Van contains a fair few Suzuki touches of its own from the bold opening sequence shot through the sights of a sniper rifle, to the show girl killed by an arrow to her bare breast, bizarre murder by petrol tanker set piece, and exciting train station finale. Keeping the camera fluid, Suzuki captures a world in motion, seemingly running away from our noble hero until justice, in the form of an unstoppable steam train, finally arrives.


Attack on the police van clip (English subtitles)

Love Me Once Again (미워도 다시 한번, Jung So-young, 1968)

love me once again posterBy the late 1960s, Korean society was caught in a moment of intense social change. Though under the oppressive authoritarian regime of Park Chung-hee, the strict censorship regulations of the early 1970s had not yet taken effect and the 1962 Motion Picture Law which encouraged a shift towards commercial cinema intended for mass entertainment created a fertile ground for melodrama which itself enabled subtle commentary on modern society. The first in what would become a long running series with two sequels and a number of remakes stretching into the 1980s, Love Me Once Again (미워도 다시 한번, Miweodo Dasi Han Beon) is a prime example. A box office hit and pop culture phenomenon, Love Me Once Again is a somewhat unusual entry the melodrama canon in its broadly sympathetic treatment of adultery and attitude towards children born out of wedlock.

The film begins in the present as family patriarch Shin-ho (Shin Young-kyun) enjoys a pleasant family Sunday fishing with his son and picnicking with his wife (Jeon Gye-hyeon) and daughter but the scene is quickly interrupted by a servant who comes to fetch Shin-ho to greet an urgent visitor to the house. The visitor turns out to be an old friend of Shin-ho’s who has a distressing message for him – Hye-young (Moon Hee), a young woman with whom he had an affair eight years previously, is back in town and would like to meet.

Flashing back eight years, Hye-young is a young kindergarten teacher living in the lodging house where Shin-ho is staying while working away from home. The pair become friends and everyone seems to assume they are a couple, though Shin-ho insists Hye-young is just a friend. Nevertheless, he eventually begins an affair with her leading Hye-young to turn down a marriage arranged by her parents. Though Shin-ho discourages her to do this, Hye-young has no idea he is already married with two children and believes he will marry her at some point in the future. Shin-ho plans to tell Hye-young about his wife but can’t bring himself to do it, allowing her to find out in the worst possible way when his wife arrives with both kids in tow. Realising she’s been duped and feeling in the way, Hye-young takes off without warning leaving only a letter wishing Shin-ho well and letting him know that she is pregnant with his child and intends to raise it alone.

Hye-young is certainly a very “modern” forward thinking woman though she is also morally upright, only embarking on a relationship with Shin-ho because she believes he is the man she will spend her life with. Her family had arranged a marriage for her and express their frustration with Hye-young for not returning home immediately in a letter which also makes plain that they will suffer embarrassment if she refuses the marriage altogether – which she does. When she returns home pregnant with Shin-ho’s child, her brother (who seems to be the head of the family), throws her out. Hye-young’s mother seems more sympathetic, but is powerless to help. Hye-young will have to manage on her own without the assistance of friends or family.

Eight years on she has a lovely little boy, Young-shin (Kim Jung-hoon), whom she has raised alone in hardship but not unhappiness. Encouraged by her brother and seeing how Young-shin looks on enviously at other little boys playing with their fathers on the beach, Hye-young begins to wonder if it might not be better to have Shin-ho raise Young-shin alongside his other two children in a middle-class family home. As Shin-ho’s son he would have a life of material comfort, a paternal input, and be free of the stigma of being the illegitimate child of an unmarried single mother.

Though the situation is difficult, it is handled with calm and maturity on all sides, not least from Shin-ho’s wife who takes a while to think hard on the situation and then agrees to look after Young-shin but only as a full adoption. She asks that Hye-young refrain from writing to or seeing her son, leaving him entirely in the family’s care. Hye-young has made her decision and agrees that may be for the best, even declining the offer of written updates from Shin-ho’s best friend. Once Young-shin has become a part of Shin-ho’s family, his wife truly does her best to make him feel at home as the third of her children, treating him kindly and taking the older two to task for teasing their “baby brother”. The children however are not quite so accepting with Shin-ho’s eldest son particularly hostile, bullying little Young-shin mercilessly even though he has done nothing to provoke his anger other than try to be friends with him. Getting a new little brother is perhaps particularly hard for the children who now have to share everything with a virtual stranger, but despite the efforts of Shin-ho’s wife, she just can’t seem to make them accept him.

Shin-ho, feeling awkward and guilty, is not quite as committed as his wife is to making the new family work. He tries to treat Young-shin as his son, but never quite connects with or makes him feel at home. The major problem is that the family all insist Young-shin must forget about Hye-young and commit fully to his new family as they are committing to him but that’s a lot to ask for an eight year old boy who quite fairly misses his mother and does not understand why he is not allowed to see her. A crisis occurs when Shin-ho angrily confiscates a locket Hye-young had given Young-shin containing her photo as a memento, sending him off on a long journey trying to find a way back to his mother. Being only eight, Young-shin has no idea how to go about finding her bar knowing the name of the town where he used to live. Roaming around the city all alone calling his mother’s name, Young-shin stays out all night. Shin-ho and his wife are sick with worry, searching for him in the pouring rain, but when he finally returns drenched and miserable, Shin-ho treats him only with anger and not with tenderness.

Meanwhile, Hye-young is struggling to come to terms with her decision to “abandon” her son, having bad dreams that Young-shin is being mistreated or is miserable, missing her as much as she misses him. Obeying the family’s request to stay away, Hye-young cannot resist coming to visit and observing from far away, hoping to catch a glimpse of her son and find out if he is well and happy. Unfortunately she turns up just as he’s gone out looking for her and spots him cowering outside Shin-ho’s house, drenched in the rain. Afraid to go near him she urges him to go inside, calling out from the shadows only to be spotted by Shin-ho as she makes her escape.

Rather than wallow in misery, Jung does not refuse the inherent melodrama of the situation but addresses it realistically and with a degree of maturity and patience most real life situations can only aspire to. Hye-young believes that Shin-ho hates herself and her son and will never be able to accept them as members of his family, but even so he does appear to have developed at attachment to Young-shin and hopes that he can maintain contact with him even if it remains clear Young-shin cannot remain in their home. Shin-ho’s wife too makes a point of not blaming Young-shin for her husband’s mistake and displays compassion for Hye-young who meant her no harm and has incurred only suffering as a result of her involvement with Shin-ho. Where most melodramas would punish Hye-young for her transgressions, Jung is kinder to her, never condemning her for her “immoral” behaviour in sleeping with Shin-ho before marriage and making it clear that her decision to live independently as a single woman and raise Young-shin alone is not only valid but correct and to be supported. A controversial attitude for the Korea of 1968 but one which declares itself on the side of modernity rather than adherence to traditions which more often than not create more problems than they solve.


Available to stream for free via the Korean Film Archive’s YouTube Channel.

A Day Off (휴일, Lee Man-hee, 1968)

vlcsnap-2017-08-09-23h50m27s782Prolific as he was, Lee Man-hee had his fair share of troubles with the censors throughout Korea’s turbulent 1960s, most famously with his arrest for breaking anti-communism laws with The Seven Female POWs which was later heavily edited and released as Returned Female Soldiers (perhaps a neat nod back to Lee’s mega hit, The Marines who Never Returned). Before that, however, Lee’s poetic meditation of the difficulties of being young in the increasingly heartless capital, A Day Off (휴일, Hyuil), was banned altogether for painting an all too gloomy picture of modern life and love. Though modern Korean cinema has gained itself a reputation for gloominess, that of the gloomy years was still expected to be, in some way, “inspirational”. Refusing to end on a happier note, Lee shelved the film leaving it unseen until rediscovered for a retrospective in 2005.

The elliptical narrative begins with Huh Wook (Shin Seong-il), trapped by another listless Sunday and remembering a girl he used to spend them with, Ji-youn (Jeon Ji-youn). Huh Wook and Ji-youn can only meet on Sundays. They count down the hours until they can be together again but then when the day closes they almost wish they’d never met at all. Neither of them have any money – Huh Wook can’t even afford a cup of coffee, let alone a wife. The relationship reaches a crisis point when Ji-youn, whose constitution is weak, becomes pregnant.

Huh Wook and Ji-youn’s conversation is raw and painful, filled with half spoken thoughts and an unwillingness to confront the depth of their despair. The couple half discuss their predicament with the assumption that they are talking about a child they cannot afford to have and an abortion they cannot pay for but it turns out the operation that Ji-youn means may be for an unrelated illness. When they finally see a doctor he advises that Ji-youn have an abortion because her health is so poor that she would likely not survive a pregnancy.

This is a city which is rapidly expanding, living conditions and opportunities should be improving but for the left behind like Huh Wook and ji-youn Sunday is all they have to live for, and so they can hardly stand it. Their situation is so hopeless, so filled with despair that there is nothing at all waiting for them but a perpetual cycle of work and release. While Ji-youn is in hospital, Huh Wook wastes time at a bar where he gets chatting to another woman. They talk, they drink, they spend the night together in a derelict building before Huh Wook is woken by church bells and remembers poor Ji-youn lying in hospital, fighting for her life.

Huh Wook is the more romantic but also the least willing to confront the situation. He criticises Ji-youn for her silence but she fires back at him with a description of an idealised life she knows they can’t have – a nice house, flowers in the garden, and yes, children. An ordinary dream but one she knows will never be a reality. Huh Wook leaves her alone to try and borrow money, wasting one of their precious Sundays. His friends have all found different kinds of release – the first is a womaniser but flat refuses Huh Wook money he assumes is for an abortion, the second is a drunk who advises him to have the baby and spend the money on drink, and the third is a wealthy man with a live-in maid. Huh Wook never gets round to asking him for the money but steals it from his jacket while he’s in the bath. 

Completed in 1968, A Day Off has echoes of Antonioni in its beautifully empty cinematography and bleak view of human relationships in an increasingly modern world. Huh Wook and Ji-youn appear to have a deep and genuine connection but their existence is so fraught with financial and social difficulties that the future is always an impossibility and, in a sense, already the past. Huh Wook wanders alone. Beaten up by the friend he stole the money from, he’s tired, bloody, and worn out. Yet all he feels is relief. All his hope is gone and now he’s free of its burden, left with nothing other than the false promise of a new dawn on the unforgiving streets of Seoul.


A Day Off is the third in The Korean Film Archive’s Lee Man-hee box set which comes with English subtitles on all four films as well as a bilingual booklet. Also available to stream online via the Korean Film Archive’s YouTube Channel.

Affair in the Snow (樹氷のよろめき, Kiju Yoshida, 1968)

affair in the snow posterKiju (Yoshishige) Yoshida, along with his wife – the actress Mariko Okada, was responsible for some of the most arresting films of the late ’60s avant-garde art scene. So called “anti-melodramas”, many of Yoshida’s films from this era took what could have been a typical melodrama narrative and filmed it in an alienated, almost emotionless manner somehow reaching a deeper level of an often superficial and overwrought genre. Affair in the Snow (樹氷のよろめき, Juhyo no Yoromeki) is, in essence, the familiar story of an unreasonable love triangle but in Yoshida’s hands it becomes a melancholy yet penetrating examination of love, sex, and transience as the central trio attempt to resolve their ongoing romantic difficulties.

Yuriko (Mariko Okada) works in an upscale beauty salon in Sapporo and is in a relationship with a moody professor, Akira (Yukio Ninagawa), which seems to have run its course. The couple decide to take a trip to figure things out but it all goes wrong when the car breaks down and they’re marooned together in an unfamiliar environment. Akira’s mood swings and jealousy seem to be the main motivators for Yuriko’s dissatisfaction along with his desire for rough and ready sex over genial romance. Fearing she may be pregnant, Yuriko is not sure what to do – especially given that Akira is not particularly supportive.

Running from Akira, Yuriko gets back in touch with an old friend and former lover, Kazuo (Isao Kimura), who she feels can be relied upon to help her whatever she decides to do in this admittedly difficult situation. Yuriko and Kazuo were together for a short while and still share a deep emotional connection but their relationship was eventually frustrated due to Kazuo’s physical impotence. Eventually Akira catches up with the pair and tries to win Yuriko back as the three work through their various problems in the snow covered mountains of Hokkaido.

For Yuriko the two men represent very different pulls – towards the spiritual and the physical. Her relationship with Akira has obviously long gone sour, the two aren’t suited or happy in each other’s company. All they have is the physical though, it seems, this is not enough for Yuriko. Yuriko and Kazuo, by contrast, work well together, complement each other and only exert positive energy but their inability to enjoy a full relationship (which it seems they would both like) is the reason their previous affair failed.

Yuriko needs, in a sense, both men though for the present time her desire is to be rid of Akira with his emotional volatility, cruelty, and possessiveness. Though the relationship may be been on its way out, Akira’s jealousy is inflamed by the deep connection Kazuo shares with Yuriko – bringing home the the fact that his relationship with her is firmly based in the physical. As Yuriko and Kazuo grow closer, Akira becomes increasingly unhinged as it’s he who’s now rendered “impotent” in the quest to win back his former love. Cavorting with the young hippies at the ski lodge, Akira tries to make Yuriko jealous and Kazuo irritated but only succeeds in making himself look ridiculous. Eventually, Yuriko is goaded into admitting that all Akira has ever known of her is superficial, whereas Kazuo has known her soul. Yet even so the love she shares with Kazuo seems doomed to fail, tinged with death as she finds herself blinded and obscured by snow filled fog, screaming into a void.

For Yoshida all love fails, as Kazuo says – no love can last. The central trio are lost and purposeless yet seeking a connection they never seem to find. Yoshida’s beautiful cinematography captures their emotional blankness through the freezing cold snow-covered landscape and infinite expanses of emptiness in which no one can reconcile everything that they want with everything that they are. Death lurks everywhere as skiers pulls bodies past romantic walks and would-be-lovers collapse in exhaustion as if trying to cross the artic plains in search of a lost friend.

Shooting through mirrors Yoshida shows us a collection of people unwilling to look directly either at themselves or at others, missing the final climactic event in their fierce determination not to engage. Lost in a fog, nothing is clear as the lovelorn and lonely seek direction only to remain locked inside themselves unable to find the true and complete connection they each seek.


Original trailer (no subtitles)

Peony Lantern (牡丹燈籠, Satsuo Yamamoto, 1968)

peony lanternThe Peony Lantern (牡丹燈籠, Kaidan Botan Doro) has gone by many different names in its English version – The Bride from Hades, The Haunted Lantern, Ghost Beauty, and My Bride is a Ghost among various others, but whatever the title of the tale it remains one of the best known ghost stories of Japan. Originally inspired by a Chinese legend, the story was adapted and included in a popular Edo era collection of supernatural tales, Otogi Boko (Hand Puppets), removing much of the original Buddhist morality tale in the process. In the late 19th century, the Peony Lantern also became one of the earliest standard rakugo texts and was then collected and translated by Lafcadio Hearn though he drew his inspiration from a popular kabuki version. As is often the case, it is Hearn’s version which has become the most common.

The central figure in Satsuo Yamamoto’s 1968 prestige picture for Daiei is the third son of a samurai household, Shinzaburo (Kojiro Hongo). This is the first Obon festival since his older brother died leaving a young widow behind him. Kiku, his sister-in-law, is becoming a problem for the clan as her birth family have not called her back and it’s embarrassing for them to have an unattached woman of age wasting away at home. Accordingly, they think the best option is for Shinzaburo to marry his brother’s wife. Shinzaburo is having none of it. A progressive kind of samurai, he spends his time teaching poor children to read and even dreams of opening a school one day but his family most definitely do not approve and see this marriage as an opportunity to put an end to his improper ideas about social justice.

Heading back to the village under a cloud, Shinzaburo helps one of the children push two of the lanterns which had got stuck by the shore out onto the lake. Suddenly two lantern carrying women appear from nowhere and thank him. Later, the same two women arrive at Shinzaburo’s home to thank him again and relate a sad tale – the older woman, Oyone (Michiko Otsuka), is a servant of the younger one, Otsuyu (Miyoko Akaza), and they’ve come from the red light district. Otsuyu apparently hailed from a samurai background but was tricked and forced into the yoshiwara after her father was abandoned by his clan and subsequently fell ill. She is still a virgin but has attracted the attentions of an older wealthy client and is expected to acquiesce to his desires after the Bon festival is over. Shinzaburo seems like such a nice guy that she’d much prefer to stay with him, at least until Bon is over. There is one quite important detail which Oyone and Otsuyu have omitted from their history.

Despite it being Bon – the Japanese summer festival in which the dead return to the land of the living, Shinzaburo never stops to think about where these two women might have come from. Truth be told, he’s in something of a dark place what with the current familial discord which might see him either exiled from his clan (which would entail the loss of his living as well as his status), or an arranged marriage to a woman he doesn’t love who also was previously married to his brother. The villagers are very fond of Shinzaburo and grateful for his efforts with the children. Should they lose him, they would never find a replacement and the children would remain uneducated.

Despite having contributed to the war effort by making a series of propaganda films, director Satsuo Yamamoto was an openly committed communist and though Peony Lantern is in no way overtly political or at least not in the same sense as some of his other work, it nevertheless manages to work in the cruelty and indifference of feudal elites towards the ordinary people below them. This is a theme which is common in kaidan/horror films from this era and particularly from Daiei, but Shinzaburo is something of an exception to the rule as he stems from the samurai order himself. His family find his commitment to educating the peasantry at best eccentric and at worst embarrassing though Shinzaburo is determined to live in a more altruistic way than his rigid, tradition bound relatives.

This does leave him feeling slightly adrift as he’s at odds with both the samurai class of his birth but also with the villagers who see him as a teacher and someone to look up to, but definitely not as one of them. When the pretty Otsuyu and her maid arrive with a tragic story also involving the harshness of the samurai class, it’s primed to catch Shinzaburo’s attention and lonely as he is perhaps he doesn’t quite stop to ask questions when offered the opportunity to play kindly saviour to a sad young woman about to be robbed of her right to choose her own destiny (much as he will be, only worse). His relations with Otsuyu leave him feeling progressively weaker but still he can’t seem to bring himself to the decision to send her away entirely.

Perhaps it’s death Shinzaburo craved all along, an end to his tormented existence and the loneliness that comes of being caught between two social strata in a strictly controlled class hierarchy. The two ghosts are not malicious, they’ve come craving love and kind words from an honest man and hit the jackpot with the softhearted Shinzaburo. Tragic as it all is, perhaps everyone ultimately got what they wanted – an end to the eternal loneliness of having been cast out from one world and unable to fully embrace another.

Despite the emphasis on the indifference of the samurai class, the poor aren’t all saints either as seen in the feckless servant character, Banzo (Ko Nishimura), who begins as comic relief but ends up very much not. He is the first to witness the ghostly nature of the two visitors and to try and save Shinzaburo from their clutches, but when his wife comes home for her Obon holiday everything changes. Banzo’s wife orders him to blackmail the ghosts for money which they eventually get by digging up a neighbouring grave. Little to they know that it’s not supernatural forces which they will need to be worrying about in the future and they will pay a heavy price for their greed.

Yamamoto captures the eeriness of his undead visitors perfectly as they float and glide across the screen. The first scene in which Banzo peeks in on them with Shinzaburo and sees them as they really are is truly shocking as is the raw power with which Oyone later confronts him. Switching effortlessly between nervous, melancholy women seemingly caught in a more Earthly kind of purgatory, and etherial escapees from the underworld, Otsuyu and Oyone continually carry a kind of death-tinged strangeness around with them. A beautifully filmed, supremely creepy adaptation of the classic story, Yamamoto’s Peony Lantern is a suitably macabre, gothic affair which is entirley unafraid to explore the essential darkness of the tale at hand.