Tag: 2000s

Dead or Alive: Final (Takashi Miike, 2002)

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dead_or_alive_final_jap_chirashiThe Dead or Alive Trilogy began in a furious, drug fuelled hymn to violence in which a petty vendetta between the opposing forces of good and evil (mingled and bloody) eventually destroyed the entire world. Dead or Alive 2: Birds was an altogether more contemplative affair in which two orphaned boys rediscover each other as jaded hitmen and decide to put their talents to “good” use by donating the hit money to pay for medicinal drugs for impoverished children around the world. Strange and surreal, Birds moved beyond the first film’s absurd ending for an altogether more abstract approach to universe building but Final pushes the idea to its limit in a cyberpunk infused far future tale of rogue robots and sexual dictatorship.

Yokohama, 2346. A new society is being forged, a new social order has been created. All powerful Mayor Wu (Richard Chen) has decreed that the only true love is gay love and made heterosexuality taboo. Births are strictly controlled to maintain population numbers with contraception ruled mandatory. The heterosexual resistance has gone into hiding in a ruined part of the city, living in a free love commune in which the birth of children is a primary goal. Lead by Fong and his first lady Jun, the resistance aims to liberate the people from the yoke of the crazed dictator and create a better, freer world for the as yet unborn children of the future. Teaming up with a rogue “Replicant”, Ryo, (Sho Aikawa) the gang attempt to further their cause by kidnapping the young son of Wu’s chief of police, Honda (Riki Takeuchi), who later discovers some uncomfortable truths about his own existence.

The use of the world “Replicant” is a pointed one and an overt reference to Final’s key text – Blade Runner, though its intentions amount much more to a pastiche than an examination of the existential questions so central to the seminal cyberpunk classic. Online captions state the action is taking place in Yokohama – an industrial harbour town close to Tokyo, but is in reality a thinly disguised Hong Kong with a green tint. Nevertheless, Miike makes the most of rundown industrial complexes now overrun by nature and the symbols of historical hubris. Aside from the flying cars and other CGI touches, the dystopianism is all too real in its sense of economic and social failures which have allowed a man like Wu to run a strange fascist police state even in the absence of the necessary infrastructure.

In keeping with the Hong Kong setting the Yokohama of 2346 is largely Chinese with broad mix of intermingled languages. Once again the nature of family is called into question but this time more through a large scale change in the social order which sees birth strictly controlled through medical and cultural enforcement. The largely Cantonese speaking resistance movement want to create a world where children can be born and then grow up freely, neatly echoing the previous films’ preoccupation with the fates of children as considered by orphans. Aside from their idealism, the Resistance turns out not to be so far removed from the petty gangsters of the previous instalments as they ultimately turn on each other with deadly consequences.

Sho Aikawa and Riki Takeuchi face off once again with Aikawa playing a Rutger Hauer-esque android who proves his “humanity” through his affiliation with children. A “Replicant” from a long forgotten war, Ryo has superpowers which allow him to stop bullets in mid-air or send out sparks of energy but is also at home playing the clown as he brushes his teeth nonchalantly in the middle a fist fight or plays dead to entertain a little boy. Takeuchi’s Honda, by contrast, is the stereotypical gestapo inspired secret police chief whose family life is a hollow one devoid of genuine feeling and maintained solely for professional expectation.

If Miike has been playing Blade Runner all along, his finale jumps ship for Tetsuo: The Iron Man as the trilogy’s leading men relive the totality of their experiences across three different plains of existence before merging into one as a kind of angel of destruction. The cycle of violence has reached its apotheosis as the twin angels are sent to wreak revenge on those who have misused their authority. Shot on high grade video, Final makes the most of its more modest production values but can’t help suffering in comparison to its predecessors. The B-movie opening is a helpful clue to Miike’s intentions as he creates his own kind of sci-fi dystopia inspired by pop culture memories, but even if the overarching themes lack integrity, Final provides the perfect ending for this often frustratingly absurd series, defying rational explanations until the end of time.

Available now in UK from Arrow Video!

Original trailer (English subtitles)

Dead or Alive 2: Birds (DEAD OR ALIVE 2　逃亡者, Takashi Miike, 2000)

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How do you make a sequel to a film which ended with the apocalypse? Takashi Miike is no stranger to strange logic, but he gets around this obvious problem by neatly sidestepping it. Dead or Alive 2: Birds (DEAD OR ALIVE 2　逃亡者, Dead or Alive 2: Tobosha) is, in many ways, entirely unconnected with its predecessor, sharing only its title and lead actors yet there’s something in its sensibility which ties it in very strongly with the overarching universe of the trilogy. If Dead or Alive was the story of humanity gradually eroded by internecine vendetta, Dead or Alive 2 is one of humanity restored through a return to childhood innocence though its prognosis for its pair of altruistic hitmen is just as bleak as it was for the policeman who’d crossed the line and the petty Triad who came to meet him.

Signalling the continuous notions of unreality, we’re introduced to this strange world by a magician (Shinya Tsukamoto) who uses packets of cigarettes to explain the true purpose of a hit ordered on a local gangster which just happens to be not so different from the plot of the first film. Because the gangster world has its own kind of proportional representation, neither the yakuza nor the Triads can rule the roost alone – they need to enter a “coalition” with a smaller outfit no doubt desperate to carve out a little more power for themselves. The free agents, however, have decided on a way to even the power share – hire a hitman to knock off a high ranking Chinese gangster and engineer a turf war in which a proportion of either side will die, leaving the third gang a much more credible player.

Mizuki (Sho Aikawa), bleach blond and fond of Hawaiian shirts, is an odd choice for a secret mission but his sniper rifle is rendered redundant when a man in a dark suit does the job for him – loudly and publicly. So much the better, thinks Mizuki, but the memory of the strangely familiar figure haunts him. Finding himself needing to get out of town, Mizuki has a sudden urge to go home where he encounters the suited man again and confirms that he is indeed who he thinks he is – childhood friend, Shuichi (Riki Takeuchi).

Revisiting an old theme, Mizuki and Shuichi are orphans but rather than being taken directly into the yakuza world they each spent a part of their childhood in a village orphanage on an idyllic island. Miike frequently cuts back between the violent, nihilistic lives of the grown men and the innocent boyhood of long hot summers spent at the beach. The island almost represents childhood in its perpetual safety, bathed in a warm and golden light at once unchanging and eternal. Reconnecting with fellow orphan Kohei (Kenichi Endo) who has married another childhood friend, Chi (Noriko Aota), the three men regress to their pre-adolescent states playing on the climbing bars and kicking a football around just like old times.

Returning to this more innocent age, Mizuki hatches on an ingenious idea – reclaim their dark trade by knocking off those the world would be better off without and use their ill gotten gains to buy vaccines for the impoverished children of the world. In their innocent naivety, neither Mizuki nor Shuichi has considered the effect of their decision on local gangland politics (not to mention Big Pharma) and their desire to kill two “birds” with one stone will ultimately boomerang right back at them.

Innocence is the film’s biggest casualty as Miike juxtaposes a children’s play in which Mizuki and Shuichi have ended up playing a prominent role, with violent rape and murder going on in the city. Whether suggesting that the posturing of a gang war is another kind of playacting, though one with far more destructive consequences, or merely contrasting the island’s pure hearted fantasy with the cold, hard, gangland reality, Miike indulges in a nostalgic longing for the simplicity of childhood with its straightforward goodness filled with friendship and brotherhood rather than the constant betrayals and changing alliances of the criminal fraternity.

The question “Where are you going?” appears several times throughout the film and perhaps occurred to Mizuki and Shuichi at several points during their journeys from abandoned children to outcast men. Neither had much choice in their eventual destination and if they asked themselves that same question the answer was probably that they did not know or chose not to think about it. All of these hopes and ruined dreams linger somewhere around the island’s shore. Kohei is about to become a father but the birth of a child now takes on a melancholy air, the shadow of despair already hanging over him. There is no way out, no path back to a time before the compromises of adulthood but for two angelic hitmen, the road ends with meeting themselves again and, in a sense, regaining lost innocence in shedding their city-based skins.

Out now in the UK from Arrow Video!

Original trailer (English subtitles)

Crows Explode (クローズ EXPLODE, Toshiaki Toyoda, 2014)

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crows explodeToshiaki Toyoda made an auteurst name for himself at the tail end of the ‘90s with a series of artfully composed youth dramas centring on male alienation and cultural displacement. Attempting to move beyond the world of adolescent rage by embracing Japan’s most representative genre, the family drama, in the literary adaptation Hanging Garden, Toyoda’s career hit a snag. Despite the film’s favourable reception with critics, a public drugs scandal cost Toyoda his career in Japan’s extremely strict entertainment industry. Since his return to filmmaking in 2009 Toyoda has continued to branch out but 2014’s Crows Explode (クローズ EXPLODE) throws him back into that early world of repressed male energy as internalised rage and frustration produce externalised violence. Picking up the Crows franchise where Takashi Miike left off, Toyoda brings his unique visual sensiblilty to the material, swapping Miike’s irony for something with more grit but losing the deadpan depth of its adolescent posturing in the process.

The old gods have fallen and new ones must rise. Tough guys graduate, but the battlefields of Suzuran High endure eternally. Suzuran is the ultimate in delinquent schools. None of the boys here are under any misapprehension that the adult world holds any promise for them. Many will drop out without completing high school, condemning themselves to a precarious life of continually uncertain, low paid employment, but even those who do manage to leave with a certificate will be heading into another competition to find a steady job in economically straightened times.

That is, those of them who don’t end up in a gang. The thing at Suzuran is that your fate is determined by your fists. Boys roam the halls looking for a fight, each vowing to become the top dog and de facto leader by proving themselves the best and the strongest of the strapping young men all vying for the title. A new challenger arrives in the form of transfer student, Kaburagi (Masahiro Higashide), whose intense energy upsets the dynamic between presumed number one Goura (Yuya Yagira) and his challenger Takagi (Kenzo) but Kagami (Taichi Saotome), the loner son of a fallen yakuza, seems further set to pose a threat in this knife edge environment.

Toyoda has some interesting points to make about the legacy of violence and the importance of father son relationships as each of these young men is reacting in some sense against a father or just his father’s world. Kaburagi, the film’s protagonist, is nursing a deep wound of double abandonment after witnessing his father’s death and then being deposited in a foster home by his sorrowful mother who promises to return for him soon but makes do with occasional visits and monetary gifts. Kaburagi is an angry young man and like many angry young men, he is eager not to become his father – a situation complicated by the fact that his father was a prize fighter who died in the ring.

His “mirror” Kagami, has a similar problem only his father died in a yakuza turf war. A surrogate presents himself in the form of former Suzuran scrapper “Jarhead Ken” (Kyosuke Yabe), now an ex-yakuza helping out at a friend’s second hand car dealership but unable to escape gangland troubles when it emerges Kagami’s clan are intent on acquiring it in order to turn the place into some kind of “entertainment complex”. Ken, a tough guy but soft hearted, has a talent for paternalism which he turns on the fatherless little boy of the car dealership’s owner to whom he teaches the importance of a hefty punch but also of friendship and loyalty.

Miike’s world was a surreal one, inflected with a wry middle aged eye which sees all of this teenage rambunctiousness for the ridiculous posturing it really is. Toyoda’s attempts to be more in the moment, experiencing the adolescent angst with all of its immediate force but unlike his early protagonists the boys of Suzuran are forced to “explode” rendering that central tenet of repressed anger redundant. Externalising the internal war somehow makes it much less interesting as boys trade blows, mindlessly trying to work out a mental struggle which their ill drawn backgrounds will not support.

The environment which the boys inhabit is a grey and hopeless one. Toyoda paints it with his characteristic visual flair, returning to his trademark sequences of slow motion coupled with indie music, but his energy is very different from Miike’s and its more contemplative rhythm never quite gels with the pugilistic fury of the source material even as it gives way to his more expressionistic imagery. The franchise is feeling a little punch drunk by this point, and Toyoda finds it in a particular puddle of teenage malaise. Still, the fists fly and the boys of Suzuran rise and fall as always providing enough self consciously cool action to sustain interest despite the otherwise insubstantial quality.

International trailer (English subtitles)

Topless (トップレス, Eiji Uchida, 2008)

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toplessFollowing the surreal horror film The Greatful Dead and cynical industry exposé Lowlife Love, Eiji Uchida is not generally known for straightforward naturalism but his 2008 movie Topless (トップレス) maybe among the most refreshingly straightforward, naturalistic depictions of lesbian life in modern Japan. Inspired by the writings of Pudding Watanabe, Topless, despite the title and suggestive poster, immediately jettisons preconceptions and sets about exploring the lives of young men and women in the city, just trying to make it in an often hostile society.

Forthright Natsuko (Mina Shimizu) splits up with her high school sweetheart Tomomi (Erika Okuda) but continues to pine after her even once Tomomi reveals that she’s got herself a boyfriend and plans to try the conventional life for a while. This heavy emotional blow provokes a kind of crisis in the otherwise certain Natsuko who finds herself musing on the fate on older lesbians and expressing sympathy for those who decide it’s just easier to enter a marriage of convenience than try to live alone. For the moment, Natusko lives with her understanding flatmate, Koji (So Sakamoto), who’s been nursing a long time crush on her even if he knows she’s gay and it’s impossible. A chance meeting with a high school girl, Kana (Aya Omasa), who’s come to Tokyo to find the mother who abandoned her to run off with a lesbian lover ten years ago only deepens Natsuko’s contemplative mood as she starts to wonder about where her life will take her if she chooses not to follow the accepted path.

Topless is less about romance than it is about acceptance and identity. Natsuko maybe a member of her university’s lesbian society but she’s about as far from a flag waver as it’s possible to be and just wants to live her life without thinking too much about the big stuff. Bar one woman (a new addition and not a student) the other girls are also just hanging round to have fun, aren’t particularly interested in activism and don’t feel themselves to be part of a movement defined by their sexuality. Natsuko certainly refuses to be defined by hers though her recent falling out with Tomomi has shaken her to the core and forced her into a consideration of her own hopes and desires for the future.

Tomomi claims to still love Natsuko but also that it “can’t be helped” because they’re both women and it’s just not possible. Natsuko tries to come to terms with her friend’s decision whilst nursing a broken heart but struggles to overcome her feelings of jealously towards Tomomi’s new boyfriend. Koji, Natsuko’s roommate, can’t understand why a lesbian would marry a man but being a man himself he can’t appreciate the societal necessities which make trying to live a life outside the mainstream particularly hard for women. As Natsuko points out, women earn less and living is expensive, it’s difficult to live out and proud in a hostile society, and then there’s the fear of growing old without children or an extended family network to fallback on. Though she sympathises with all of these factors on an intellectual level and then eventually even contemplates trying out life with a man herself,  it’s not something Natsuko could ever do and a part of her can never forgive Tomomi for doing it even if she does understand why someone might.

Kana’s quest for her long lost mother gets lost between the meatier subplots but proves enlightening in the unexpected bond between the troubled schoolgirl and the shaken if confident Natsuko. Still nursing deep scars from her abandonment, Kana claims to hate lesbians but grows to like Natsuko, the only person willing to help her track down her mother in a totally unfamiliar world. Despite Koji’s protestations that Natsuko will be angry if she hears any of Kana’s anti-gay sentiments, she listens patiently to Kana’s complaints stopping only to tell her she understands why she feels that way but that she also thinks she’s wrong. Trying to help Kana understand why her mother made the decisions that she did and see that there’s nothing wrong with two women loving each other, Natsuko changes hearts and minds just by being patient and kind.

In the conventional sense Topless offers no happy endings but it does advocate first and foremost for a kind of self acceptance and finally allowing old wounds to scar over, closed but not forgotten. Normalising lesbian life with ease, Uchida proceeds with a straightforward approach which sidesteps the obvious in order to provide a more nuanced portrait of life and love among the young people of Tokyo each trying to navigate the difficult process of learning to live as an independent person constrained by social conventions. Admittedly low budget but tastefully done and anchored by a standout performance from Mina Shimizu, Topless is a refreshingly down to earth look at gay life in the big city which refuses to give in preconceptions and expectations.

Short clip from the film (English subtitles)

Rain of Light (光の雨, Banmei Takahashi, 2001)

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In the closing voice over of Banmei Takahashi’s Rain of Light (光の雨, Hikari no Ame), the elderly narrator thanks us, the younger generation, for listening to this long, sad story. The death of the leftist movement in Japan has never been a subject far from Japanese screens whether from contemporary laments for a perceived failure as the still young protestors swapped revolution for the rat race or a more recent and rigorous desire to examine why it all ended in such a dark place. Rain of Light is an attempt to look at the Asama-Sanso Incident through the eyes of the youth of today and by implication ask a few hard questions about the nature of revolution and social change and if either of those two things have any place in the Japan these young people now live in. Takahashi reframes the tale as docudrama in which his young actors and actresses, along with their increasingly conflicted director, attempt to solve these problems through recreation and role play, bridging the gap between the generations with a warning from those who dreamed of a better world that was never to be.

After beginning with a voice-over and archive footage of the original protests beginning in the ‘60s, Takahashi introduces us to the main thrust of the conceit as veteran TV commercial director Tarumi (Ren Osugi) announces his intention to make a film about the Asama-Sanso Incident and hires indie film director Anan (Masato Hagiwara) as an AD who will also film behind the scenes footage. From here on in we swap between the various levels of the film as we meet the young men and women who will inhabit the roles of the student radicals of 40 years before and then witness the tragic events which befell them eventually culminating in the famous siege which became Japan’s first live broadcast news event gathering a record number of viewers across its ten hour duration.

This is a sad story and a difficult one to watch. As the student movement dwindled in the early 1970s, factionalism was rife and the scene chaotic. Two different factions merged to become known as the United Red Army and retreated to a secret mountain camp where they would train for the coming revolution, believing that only armed insurrection could destroy the old order and allow them to build the bright new socialist future for which they were fighting. However, in the extreme paranoia surrounding the underground movement, there had already been two murders of suspected traitors and suspicion was everywhere. Led by Kurashige (Taro Yamamoto) and Uesugi (Nae Yuki) the mountain lodge quickly becomes a place of fear and rigidity as dogmatic maoist slogans take on near religious significance. Pushing the “soldiers” through the process of continuous “self criticism”, the group places personal revolution as a paramount necessity for social change. Using the system to ease personal grudges or clear the political air, Kurashige and Uesugi bring about the deaths of several cadre members through beatings, exposure, or starvation before resorting to bare faced murder all in the name of “reform”.

Less interested in simply reviewing events, Takahashi’s treatment attempts to speak directly to the young people of today who, at least according to the video interviews conducted by Anan, know little of this traumatic era which presumably formed the backdrop to their parents’ lives. As time moves on it transpires that Tarumi has a much more personal connection to the material than he’d previously been able to admit and one which eventually sees him attempt to absent himself from the film’s completion. In the absence of their director, the cast take on the attributes of their characters in trying to understand his actions. Beginning to self criticise themselves, the actors attempt to find the fault that has driven their leader away despite the fact that his reasoning is entirely personal.

The young discuss the various merits of change and revolution but find their forebears hard to grasp. It is, indeed, impossible and all too possible to understand how this happened. Young men and women who wanted to change the world found their ideals misused, driven half mad by a kind of quasi-religious cultism which demanded nothing less than total commitment the rules of which were entirely decided by a deluded madman terrified of losing his own grip on power. Though some of the performers come to sympathise with their roles, this era of heavily politicised thought and activism is so entirely alien to them as to seem arcane.

Takahashi delineates each of the various media through differing camera effects and aspect ratios from the mid-range digital of the film within the film to the low grade video of the direct to camera “behind the scenes” footage. The film is itself the bridge which the director claims he wants to make yet eventually backs away from as his own painful past becomes the subject he does not want to address. Anan, the AD, pleads with the director to deliver his message to the young. The old, he says, talk about the past like it’s yesterday but refuse offer anything of real substance to those who have come after them. Tarumi does indeed tell his story in all of its pain and sadness, stopping to remind us, as the troupe of actors gleefully start throwing snowballs around, that this was a children’s revolution begun by young men and women who wanted nothing other than to build a better world. So what of the youth of today? Is such idealism still present, and if it is could it ever be as frustrated and misused as the unhappy revolutionaries of the post ’68 generation? The answer seems to be no, but then nothing came of the grand gestures and political posturing of 40 years ago, perhaps the genial, everyday goodness of the youth of today will have more luck.

 

United Red Army (実録・連合赤軍 あさま山荘への道程, Koji Wakamatsu, 2007)

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Koji Wakamtasu had a long and somewhat strange career, untimely ended by his death in a road traffic accident at the age of 76 with projects still in the pipeline destined never to be finished. 2008’s United Red Army (実録・連合赤軍 あさま山荘への道程, Jitsuroku Rengosekigun Asama-Sanso e no Michi) was far from his final film either in conception or actuality, but it does serve as a fitting epitaph for his oeuvre in its unflinching determination to tell the sad story of Japan’s leftist protest movement. Having been a member of the movement himself (though the extent to which he participated directly is unclear), Wakamatsu was perfectly placed to offer a subjective view of the scene, why and how it developed as it did and took the route it went on to take. This is not a story of revolution frustrated by the inevitability of defeat, there is no romance here – only the tragedy of young lives cut short by a war every bit as pointless as the one which they claimed to be in protest of. Young men and women who only wanted to create a better, fairer world found themselves indoctrinated into a fundamentalist political cult, misused by power hungry ideologues whose sole aims amounted to a war on their own souls, and finally martyred in an ongoing campaign of senseless death and violence.

Dividing the narrative into three distinct acts, Wakamatsu begins with a lengthy history lesson starting right back in 1960 with the birth of the student movement and the first casualty of the unborn revolution as a young woman loses her life protesting the rise of tuition fees. Despite the lack of success, the student movement intensifies during the turbulent 1960s with the renewal of the ANPO treaties and the perceived complicity of the Japanese government with America’s anti-communist warfare in Asia. Mixing archive footage with reconstructions and on screen text detailing timelines, names and affiliations these early segments are hard to follow but bear out the complexity and chaos which contributed to the inefficacy of the student movement. Soon, each of the leaders we have been introduced to has been removed from the scene leaving the older but inexperienced Tsuneo Mori (Go Jibiki) in charge of what was then the Red Army Faction.

Mori had only recently rejoined the movement after leaving in disgrace at fleeing a protest and thereby evading arrest. The Red Army Faction then merges with another sect, the Revolutionary Left Wing (RLF), to form the United Red Army. Led by Mori and a female commander, Nagata (Akie Namiki), the United Red Army holes up in a cabin in the woods in order to undergo military training for the upcoming armed insurrection. Prior to this, there had been a series of purges and executions in the city producing an atmosphere of terror and paranoia which only intensifies in the incestuous and claustrophobic environment of the ascetic mountain retreat.

Out of his depth and eager to prove himself, Mori’s revolutionary consciousness developes into a dangerous cult of personality in which his iron rule is more akin to fundamentalist religion than a serious political movement intended to change the world for the better. Wakamatsu’s depiction of these events is as terrifying as it is absurd. Maoist doctrine becomes a holy scripture as each of these would be revolutionaries is forced to undergo self criticism in order to devote themselves fully to the revolution and become a “true communist”. Brainwashed and naive, the cadre comply seeming not to realise that no self criticism they can offer will ever be good enough for Mori’s constant need for identity erasure and that each fault they offer will only be used to form the basis of the next charge levelled against them. What begins as questioning develops into screaming before descending into bloody violence and eventually murder.

If Mori’s fault is a kind of madness born of fear and insecurity, it is Nagata whose mania takes on an almost gleeful quality. A plain woman with unremarkable features and a sharp personality, Nagata, as she’s portrayed in the film, displays extreme issues relating to femininity. When an idealistic young woman arrives dressed in typical city fashions necessary to blend in with the capitalist bourgeoisie, Nagata wastes no time in berating her for her stylish clothes and makeup. Threatened both by the woman’s conventional beauty and high ranking position in another faction, Nagata takes especial care to make sure she herself remains on top. Despite being in a relationship with one cadre member and later leaving him for Mori (because it’s “right from the communist perspective”), Nagata cannot bear any hint of sexual activity and it is an ill judged kiss which ends up leading to the first set of mercilessly violent self criticism sessions eventually resulting in death as both parties are beaten and then tied up in the freezing mountain air where death by exposure is all but inevitable.

Mori declares that “leadership means beating” but when this is no longer enough the death sentences come thick and fast. Eventually, some members manage to escape and the mountain hideout is discovered. Splitting up and heading on the run, Mori and Nagata are captured while a group of five break into a mountain lodge where they take the caretaker’s wife hostage and remain under siege for nine days until the police eventually break in, arrest the terrorists and rescue the woman all of which became the first such event to be live broadcast on Japanese TV. The Asama-Sanso incident, as it came to be known, sealed the fate of the left wing protest movement in Japan as the terrorist violence of the renegade protestors forever coloured public perception.

Wakamatsu does not end his story here – returning to the captions which opened the film, he reveals to us the legacy of the failed student protest movement in the overseas activities of the Japanese Red Army, most notably in North Korea and the Middle East. The protest movement in Japan resulted in abject failure – the ANPO treaty survives, the Sanrizuka villages were destroyed and an airport built, the capitalist future arrived at speed heading into the bubble economy where the only revolution was consumerism. The glorious future of which these young people dreamed, free of class, gender, and social inequality, would not materialise as their idealism devolved into introspective dogmatic rhetoric, violence and murder. Trapped inside a fundamentalist cult, the true tragedy is that this was a children’s revolution – the vast majority of its victims under 25 years old, one just 16 and forced to participate in the death of his own brother. How much good could each of these socially conscious young people have gone on to do if only they’d found a less destructive cause? Would anyone want to live in the world born of this revolution? Contrasting the joyous camaraderie of the peaceful protests with the escalating, internecine violence of the URA, Wakamatsu’s vision of the movement he was once a part of is a necessarily bleak one but resolute in its gaze. Ugly, cold and unforgiving United Red Army is a warning from history which has only sympathy for those caught up in its terrible machinations.

Original trailer (English subtitles)

The Chef of South Polar (南極料理人, Shuichi Okita, 2009)

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If there’s one thing which unites the universes present in the films of Shuichi Okita, aside from their warm and humorous atmosphere, it’s their tendency to take a generally genial, calm and laid-back protagonist and throw them into an inhospitable environment which they don’t quite understand. When it comes to “inhospitable”, the hero of The Chef of South Polar (南極料理人, Nankyoku Ryourinin) couldn’t have it much worse, unfairly transferred to a polar research station where the air temperature is so cold nothing, not even bacteria, can survive outside. Still, like all of Okita’s laid-back guys, he handles his difficult circumstances with a kind of stoical resignation until, of course, the situation can be handled no more.

Separated from his wife and children, Jun Nishimura (Masato Sakai) previously worked for the Japanese coastguard but has now been transferred (not altogether of his own volition) to a polar research station where he is responsible for all the culinary needs of the seven men who will be working together during the expedition which is intended to last one year. Each of the other men has his own part to play in the scientific endeavours but cooped up as they are, the greater issue is downtime as the guys revert to a kind of high school camp mentality, divided into various groups and activities from the “Chinese Research Club” to a bar being run by the doctor who is also training for a triathlon. 365 days in the freezing cold does eventually begin to take its toll but all of the crazy only serves to remind people how important it is that they all get on and make it through this together.

Based on the autobiographical writings of the real Jun Nishimura, Okita’s isolation experiment has a pleasantly authentic feeling as the titular chef laments the difficulties of the conditions but continues to churn out beautifully presented culinary treats despite the hostile environment. Resources are also strictly limited as the original provisions are intended to last the entire expedition, hence why most of the foodstuffs are canned, vacuum packed or frozen but there are a few luxuries on offer including some prize shrimp apparently left behind, uneaten, by a previous team which proves an additional occasion for celebration just as despair is beginning to set it in. Seeing as the men are all here for more than a year, celebratory occasions do present themselves with regularity from birthdays to “mid winter holiday” and even a good go at the Japanese festival of Setsubun with peanuts instead of beans.

Despite these brief moments of respite, being completely cut off from the outside world for such a long time with little natural light and hardly anything to do outside of research places its own kind of pressure on the minds of these top scientists. As their hair gets shaggier and their beards progressively less kempt, sanity also begins to slip. Each of the guys has their own particular marker, something they’re missing that’s playing on their minds until they eventually break completely. For some this could be realising they’ve eaten all of the ramen which exists in their tiny world and now have nothing left to live for, missing their kids, or realising that their girlfriend might have met someone else while they’ve been busy devoting themselves to science, but this being an Okita film even if an axe is raised it rarely falls where intended and the only cure for mass hysteria is guilt ridden kindness and a willingness to work together to put everything right again.

Of course, the other thing the guys have to put up with is the attitude of the outside world as everyone is very keen to ask them about the cute penguins and seals which they are sure must be everywhere at the South Pole, only to have to explain that it’s just too cold for cuteness though it does lead them to the epiphany that they are the only living creatures in this desolate place and so share a special kind of kinship. Filled with Okita’s usual brand of off the wall humour and gentle humanity, The Chef of South Polar is another warm and friendly tale of nice people triumphing over adversity through cooperation, mutual understanding and sustained belief in the healing power of ramen.

Original trailer (no subtitles)

Swing Girls (スウィングガールズ, Shinobu Yaguchi, 2004)

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There are two kinds of people in the world, those who swing and those who…don’t – a metaphor which works just as well for baseball and, by implication, facing life’s challenges as it does for music. Shinobu Yaguchi returns after 2001’s Waterboys with a film that’s…almost exactly the same only with girls instead of boys and concert halls instead of swimming pools, but it’s all so warm and charming that it hardly matters. Taking the classic sports movie formula of eager underdogs triumphing against the odds but giving it a teen comedy drama spin, Yaguchi’s Swing Girls (スウィングガールズ) is a fitting addition to the small but much loved high school girls vs music genre which manages to bring warmth and humour to its admittedly familiar narrative.

It’s summer and it’s hot and sunny but the school is filled with yankis and dreamers, forced to spend this lovely day indoors. While one group is busy ignoring their maths teacher, the school band is getting ready to accompany the baseball team on an important match. Unfortunately, the bus leaves before the bento boxes they’ve ordered are delivered so enterprising high school girl Tomoko (Juri Ueno) suggests they blow off the maths class and show solidarity with those representing the school by making sure their fellow students are well fed. Unfortunately, they fall asleep and miss their stop on the train meaning by the time they get there it’s a very late lunch and these bento boxes containing fish and eggs etc have all been in the hot sun for a fair few hours. After nearly killing all their friends, the girls are forced to join the band in their stead, despite having almost no musical experience between them.

As might be expected, the girls start to get into their new activity even if they originally dismiss sole boy Takuo’s (Yuta Hiraoka) interest in big band jazz as the uncool hobby of pretentious old men. However, this is where Yaguchi throws in his first spanner to the works as the original band recover far sooner than expected leaving our girls oddly heartbroken. This allows us to go off on a tangent as the girls decide they want to carry on with their musical endeavours and form their own band but lack the necessary funds to do so. Being a madcap gang of wilful, if strange, people the schemes they come up with do not go well for them including their stint as supermarket assistants which they get fired from after nearly setting the place on fire, and a mushroom picking trip which leads to an encounter with a wild boar but eventually holds its own rewards.

The girls’ embittered maths teacher, Ozawa (Naoto Takenaka), who just happens to be a jazz aficionado offers some key advice in that it’s not so much hitting the notes that matters as getting into the swing of things. It might take a while for the Swing Girls (and a boy) to master their instruments, but the important thing is learning to find their common rhythm and ride the waves of communal connection. Tomoko quickly takes centre stage with her largely self centred tricks which involve pinching her little sister’s games system to pawn to buy a saxophone, and almost messing up the all important finale through absentmindedness and cowardice. Other characters have a tendency to fade into the background with only single characteristics such as “worried about her weight”, or “hopelessly awkward”, or even with “folk duo in love with punk rockers”. Other than the one girl lusting after the baseball star and the two punk rockers annoyed by their earnest suitors, Yaguchi avoids the usual high school plot devices of romantic drama, fallings out, and misunderstandings whilst cleverly making use of our expectation for them to provide additional comedy.

What Swing Girls lacks in originality it makes up for with warmth and good humour as the band bond through their recently acquired love of music, coming together to create a unified sound in perfect harmony. Ending somewhat abruptly as the gang win over their fellow musicians after having overcome several obstacles to be allowed to play, the finale does not prove quite as satisfying as might be hoped but is certainly impressive especially considering the music really is being provided by the cast who have each learned to play their intstruments throughout the course of the film just as their characters have been doing. Warm, funny and never less than entertaining, Swing Girls lacks the necessary depth for a truly moving experience but does provide enough lighthearted fun to linger in the memory.

Original trailer (English subtitles)

Waterboys (ウォーターボーイズ, Shinobu Yaguchi, 2001)

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Japan has really taken the underdog triumphs genre of sports comedy to its heart but there can be few better examples than Shinobu Yaguchi’s 2001 teenage boys x synchronised swimming drama Waterboys (ウォーターボーイズ). Where the conventional sports movie may rely on the idea of individual triumph(s), Waterboys, like many similarly themed Japanese movies, has group unity at its core as our group of disparate and previously downtrodden high school boys must find their common rhythm in order to truly be themselves. Setting high school antics to one side and attempting to subvert the normal formula as much as possible, Yaguchi presents a celebration of acceptance and assimilation as difference is never elided but allowed to add to a growing harmony as the boys discover all new sides of themselves in their quest for water borne success.

Dreamy high school boy Suzuki (Satoshi Tsumabuki) is currently the only member of his high school’s swimming team, and unfortunately he’s not a particularly good swimmer. His interest is piqued when he spots a synchronised swim meet, but he forgets all about it until a new teacher arrives and pledges to revive the school’s fortunes in the pool. Seeing as their new teacher is a pretty young woman with an interest in swimming, the team suddenly becomes much more popular but when she reveals her synchronised swimmer past numbers dwindle once again. Unfortunately, the hot new teacher suddenly has to leave the school so the boys are left to fend for themselves in their new and possibly embarrassing career in a generally feminine sport.

Being teenage boys who only started this whole thing because of the pretty teacher, most of the other guys are are looking for a way out but they also don’t like to be called quitters and so they become determined to make a success of themselves. Suzuki, who secretly wanted to become a synchronised swimmer anyway, is the most committed but also, perhaps, the least confident in his choice of sport as he embarks on a tentative romance with a girl from another school – herself an enthusiast of the more masculine karate. Terrified that she will find out and laugh at him, Suzuki goes to great lengths to avoid telling her what it he really does in his club activities, possibly putting the growing romance at risk in the process.

This mild challenge to masculinity is the main joke of the film but Yaguchi neatly subverts as the guys become cool again thanks to mastering a difficult skill and creating an impressive spectacle through hard work and group mentality. The boys gain an unlikely mentor in the form of a dolphin trainer at Sea World who they hope will be able to train them in the same way he trains his marine creatures but quickly sets them off on some Karate Kid style practical training which involves a lot of menial tasks around the park before dumping them at the local arcade to play dance dance revolution until they learn the art of synchronicity through the power of idol pop. Waterboys is, essentially, a hymn to the harmonious society as the boys eventually find their common rhythm and the power that comes from many acting as one.

Unusually, this does not requite a loss of individuality or for any erasure of essential personality traits but rather a greater need for acceptance as difference merely adds to the strength of the whole. Though there are a fair few gay jokes in what is essentially a movie about high school boys in skimpy trunks, the joke is not homosexuality but reactions to it as Yaguchi adopts a “get over it” attitude and so when one of the boys does confess his love for another it’s treated with no particular reaction other than lack of surprise. Similarly the cross dressing mama-san from the local gay club (a surprising turn from Akira Emoto) becomes one of their greatest supporters and may provide comic relief but is never a figure of fun. In order to succeed the boys will need to be in tune with each other, but that in tune sounds better when it allows for harmony rather than insisting on dull monotony.

Visually inventive and often hilarious, Waterboys lacks the heart of Yaguchi’s similarly plotted Swing Girls but nevertheless succeeds in its tale of inexperienced young guys working hard and achieving the impossible, growing up and discovering new things about themselves as they do. Waterboys may be lighthearted, crowd pleasing fun, but its good natured message that great things are possible when determined people work hard at them together, and that group harmony does not necessarily require social conformity, only add to its warm and gentle tone.

Korean trailer (Korean captions/subtitles only)

Batang West Side (Lav Diaz, 2001)

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batang-west-sideLav Diaz’s auteurist break through, Batang West Side is among his more accessible efforts despite its daunting (if “concise” by later standards) five hour running time. Ostensibly moving away from the director’s beloved Philippines, this noir inflected tale apes a police procedural as New Jersey based Filipino cop Mijares (Joel Torre) investigates the murder of a young countryman but is forced to face his own darkness in the process. Diaspora, homeland and nationhood fight it out among those who’ve sought brighter futures overseas but for this collection of young Filipinos abroad all they’ve found is more of home, pursued by ghosts which can never be outrun. These young people muse on ways to save the Philippines even as they’ve seemingly abandoned it but for the central pair of lost souls at its centre, a young one and an old one, abandonment is the wound which can never be healed.

Lonely New Jersey police officier Mijares calls his ex-wife out of the blue after two years but has nothing in particular to say to her or the two children currently asleep in bed he no longer sees. His father abandoned the family when he was only seven years old leaving his mother bereft and searching, neglecting her child in her grief-like extremity. Mijares’s mother joined him in America, but has been in a vegetative state for the last few years meaning Mijares is more or less alone though surrounded by familiarity in an area dense with fellow Filipino exiles.

Called to a snow covered crime scene, Mijares discovers the body of a young Filipino boy he often saw around West Side Avenue and whose face, if not name, he knew. Hanzel Harana (Yul Servo) is just one of many young Filipinos trying to make a future away from home albeit one with a series of advantages and disadvantages which have brought him to this unhappy end. Hanzel rejoined the mother who abandoned him (also) at seven years old to provide a better life for the family by earning American wages. Now the wife of a wealthy old man to whom she is more carer than life partner, Hanzel’s mother Lolita reclaimed her oldest son in order to “save” him from the dangers of a Philippine adolescence. Nursing a broken heart, Hanzel came to the new world but brought his old habits with him. Despite a brief period of personal growth helped along by his grandfather’s sagacious council, Hanzel falls in with a bad crowd promising a glorious new Philippine future through the wonder drug, Shabu.

Mothers and motherland mingle in the imagination as Mijares is haunted by strange dreams of his broken hearted mother, desperately chasing the elusive ghost of her lost love at the expense of that of her very present son. His mother’s condition requires him to undergo frequent sessions with a strange psychologist who is primarily interested in his dream state believing that dreams are a kind of inner scream which need to be exorcised and laid to rest. Mijares dreams of his mother but also of his teeth falling out which, apparently, is code for the death of someone close but the only corpse so far is that of the young boy, Hanzel Harana, whom Mijares did not know yet felt some kind of invisible kinship with.

The two men mirror each other, one young and ruined by hope and the other older and defeated by its continuing failures. Delving deeper into Hanzel’s story Mijares finds much to echo his own as Hanzel remains preoccupied with the idea of family and restoring his long absent mother to his Philippine home. Having been brought to the States away from a life of dissipation, Hanzel struggles as a lone figure in an alien landscape, unexpectedly bonding with his paraplegic step-father but locking horns with his mother’s live in lover and fellow Filipino exile Bartolo (Arthur Acuña) – jealous, violent, and manipulative yet, perhaps, the embodiment of a certain kind of dangerous masculinity.

Hanzel is not a Bartolo and this kind of macho posturing is not in his more introspective nature. Despite professing that he doesn’t read books, Hanzel is eventually enlivened by his grandfather’s doctrine of continuing education even picking up a love for computers which could have led to a very successful career path in the rapidly developing tech world of the early 21st century but the honest way is hard and slow and Hanzel is in a hurry. Losing patience with his grandfather’s kindly ministrations and his mother’s steely rebuffing of his long held dream, Hanzel loses hope and allows himself to buy into the half-baked theories of the Avenue’s other Filipino kids with their Shabu based ideas of revolution and eventual descent into drug infused violence and confusion.

Hanzel’s grandfather has a few words of advice for the not quite young policeman. Like Hanzel the Philippines are directionless, all their heroes’ efforts have gone to waste. It’s up to the younger generation to heal it while there is still time. Yet it’s not only future of which Diaz is in search but truth found only through exposing lies. Mijares interviews the witnesses turning up differences and conflicting testimonies each time, leaving him with no concrete solution to the central mystery bar personal conviction. Mijares’ own convictions have been wavering, his “American” persona is a construct, like that of many exiles attempting to throw off past trauma with a new identity in a new land. Dreams do not lie even if they do not quite tell the truth and so Mijares’ increasingly violent visions in which Hanzel dies a thousand bloody deaths at his own hand eventually expose this long buried secret which lies at the core both of his own identity and that of his nation, still unwilling to meet his eye.

A man cannot outrun his central truths and carries his culture with him even as he claims to discard it. New identities only mask old wounds, eventually fracturing unable to bear the weight placed upon them by the expectation of place. Shooting this time in muted colour, capturing the low light neon glare of a New Jersey winter Diaz switches to black and white for his eerie dreamscape whilst presenting us with a final moment of truth and reconciliation offered via video. Bleak yet oddly hopeful, Batang West Side is a statement of intent from Diaz, a cinematic quest for essential truth, uncompromising in scope and unflinching in its gaze.