A Sparkle Of Life (燦燦 さんさん, Bunji Satoyama, 2013)

sparkle-of-lifeAs Japan’s society ages, the lives of older people have begun to take on an added dimension. Rather than being relegated to the roles of kindly grandmas or grumpy grandpas, cinema has finally woken up to the fact that older people are still people with their own stories to tell even if they haven’t traditionally fitted established cinematic genres. Of course, some of this is down to the power of the grey pound rather than an altruistic desire for inclusive storytelling but if the runaway box office success of A Sparkle of Life (燦燦 さんさん, Sansan) is anything to go by, there may be more of these kinds of stories in the pipeline.

77 year old Tae (Kazuko Yoshiyuki) lost her husband some years ago after nursing him through a long illness. Spotting a pretty wedding dress in a shop window and examining the adverts on the outside, Tae ventures in and attempts to sign up with the matchmaking service which so prominently promises a happy ending at its doorway. The clerk is surprised, to say the least, after realising that Tae is not a pushy relative trying to find a spouse for an unmarried son or daughter but is seeking someone to brighten her remaining days. Now that she is totally free, Tae just wants to feel her heart flutter again and perhaps enjoy the warm glow of companionship one last time.

Looking it up on the computer, Ayako (Kanami Tagawa) – the assistant dealing with Tae’s application, is surprised to find there are a number of older men already on the books. Accordingly, she sets Tae up with some of the more promising candidates though it seems that men don’t really change all that much and not all of them are exactly after “a relationship” after all. Eventually Tae hits it off with a charming older gentleman, Yuichiro (Gaku Yamamoto), who seems to be everything she wants in a partner but there’s something else that seems to be keeping them apart.

Just as Ayako originally reacted with mild horror on learning that Tae herself was seeking a romantic partner, not everyone approves of her decision. Tae’s longtime friend (the best friend of her late husband), Shinji (Akira Takarada), is strangely angry and somewhat resentful though, predictably, he has reasons which are more personal than social or moral when it comes right down to it. Tae’s family, finding out by accident after letting themselves into her home while she’s out, are also outraged. Getting over the shock, Tae’s son announces that he supposes it’s OK for her to think about getting remarried but finds the idea of using a dating service embarrassing and orders her to stop right away.

Like Tae’s son, many people try to infantilise Tae and her friends, relegating them to a kind of second childhood now that their working or family lives have ended. Running into her friends from the Sunny Day Club, Tae is exasperated by their game of throwing hoops which, as Shinji says, they used to enjoy as children. Tae may be older but she still wants more out of life than being handed a juice box and told to sit in the corner while the grownups talk.

Dating is, however, harder with so much already in the past. Yuichiro may describe his relationship with Tae as being like a second stab at first love but with everything so different than it was before the situation presents its own set of difficulties. The essential problems are, of course, the same though Tae’s longed for second chance for love may have been right by her side all these years only too bound up with duty and tradition to have made his feelings plain.

Bunji Sotoyama’s approach is tailor made for his target audience but the warm and gentle atmosphere coupled with the often laugh out loud humour is sure to appeal to all age groups. Tae’s quest for love and determination to enjoy the time she has left to the fullest despite what anyone else might have to say about it is a quiet but firm bid for freedom and individual happiness in old age rather than the unwelcome relegation to the world of second childhood otherwise offered to women in Tae’s position. A comedic tale of late life love, A Sparkle of Life is a lesson in realising you only see the fireworks once it begins to get dark but that only makes them all the more precious.


Screened as part of the Japan Foundation Touring Film Programme 2017.

Original trailer (English subtitles)

Irezumi (刺青, Yasuzo Masumura, 1966)

91HAEic7eNL._SL1500_Irezumi (刺青) is one of three films completed by the always prolific Yasuzo Masumura in 1966 alone and, though it stars frequent collaborator Ayako Wakao, couldn’t be more different than the actresses’ other performance for the director that year, the wartime drama Red Angel. Based on a novel by Tanizaki and scripted by Kaneto Shindo (Onibaba, Kuroneko), Irezumi is a supernaturally tinged tale of vengeance and betrayal.

The film begins in the middle as Otsuya, having been abducted and sold to a geisha house, is tied, bound and chloroformed so that a tattooist can mark her skin with the eery portrait of a spider with a human face. Skipping back awhile, it seems this came about as a consequence of Otsuya convincing the mild mannered assistant of her father, Shinsuke, to run away with her. The pair take refuge at the home of a family friend, Gonji, but after his advances towards Otsuya are rebuffed he arranges to have Shinsuke killed and Otsuya sold as a geisha. Shinsuke manages to get away after a bloody fight but he’s a gentle man and the violence of the encounter marks him. Otsuya, by contrast, finds she quite enjoys her new life and gets along OK with her pimp, Tokubei, who urges her to “feed on men”. Otsuya’s lusts become ever more violent with the spectre of the tattoo artist hovering in the background. Is the tattoo itself enacting these scenes of terrifying vitality or merely an excuse for releasing Otsuya’s true nature?

Shot in vibrant colour in contrast to Red Angel and many of Masumura’s other efforts from around the same time, Irezumi makes fantastic use of its lurid atmosphere. Sex and death and violence – hardly unusual themes for Japanese cinema though Irezumi feels like an early precursor to the exploitative pinky violence cycle of the following decade. In keeping with those films, Otsuya is another conflicted avenger, wreaking havoc on venial men who think they can buy and sell a woman’s soul as well as her body. As the violence mounts, Otsuya falls into a kind of mania and at one point exclaims that this isn’t really her at all, it’s all the fault of the spider on her back – trapping men in its silky web only to suck them dry and throw away the husk.

Whether Otsuya is herself an avenging warrior for the female sex or merely a demonic vision of the ultimate male fear is somewhat up for debate. Her transgressions are intentionally destabilising – she breaks with convention by “betraying” her father when she runs of with Shinsuke and not only that, she does so at her own insistence. Shinsuke himself is far too meek and mild mannered to have ever done such a thing entirely of his own will and is largely swept along by Otsuya for the entire course of the film. Only when he fears she may betray him does he decide to take action. Otsuya’s sexuality in itself is also transgressive, actively pursuing Shinsuke before a formal marriage and then even expressing her enjoyment of her new life in the pleasure quarters – neither attitude is one that is expected of the demure daughter of a noble house. Is she an emancipated woman, or fallen one? The film offers no clear judgement here but presents her both in terms of vengeful heroine and of terrifying villainess.

Along with its rather complicated structure beginning in a media res opening followed by a lengthy flashback sequence, Irezumi is never quite as successful as Masumura’s other mid ‘60s offerings. Though boasting a script by maestro Kaneto Shindo, a noted director in his own right and frequent visitor to the realms of horror, something about Irezumi fails to coalesce. That said, it does offer a visually arresting, generally interesting supernaturally tinged tale and yet another fantastic performance from its talented leading lady.


Irezumi is available with English subtitles on UK R2 DVD from Yume Pictures

Tattoo sequence from the film: