Tag: Japan

Carmen Comes Home (カルメン故郷に帰る, Keisuke Kinoshita, 1951)

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Carmen Comes HomeShochiku was doing pretty well in 1951. Accordingly they could afford to splash out a little in their 30th anniversary year in commissioning the first ever full colour film to be shot in Japan, Carmen Comes Home (カルメン故郷に帰る, Carmen Kokyou ni Kaeru). For this landmark project they chose trusted director Keisuke Kinoshita and opted to use the home grown Fujicolor which has a much more saturated look than the film stocks favoured by overseas studios or those which would become more common in Japan such as Eastman Colour or Agfa. Fujicolour also had a lot of optimum condition requirements including the necessity of shooting outdoors, and so we find ourselves visiting a picturesque mountain village along with a showgirl runaway on her first visit home hoping to show off what a success she’s made for herself in the city.

Famous Tokyo showgirl “Lily Carmen” (Hideko Takamine) was once plain old Kin from the cow farm. When the family receives a letter written in grand style and signed with Kin’s stage name explaining she’ll be coming to visit, her sister may be excited but her father has much more mixed emotions. When Carmen comes home she does so like she’s on a victory parade. Wearing her Westernised, colourful outfits fashionable in the city but like something from outer space here, Carmen becomes the show but oddly seems uncomfortable with the predictable amount of attention she’s getting around town. The presence of Carmen and her equally pretty friend, Maya (Toshiko Kobayashi), threatens to destabilise this otherwise peaceful mountain village but just what sort of chaos can two beautiful women really create over the period of a few days?

The villagers react to Carmen’s return with a series of ambivalent emotions. Of course, they’re glad to see their own girl back, especially as she’s been so successful in the city, but this Carmen is not the same as the Kin who ran away. Slightly in awe of all this visiting urban sophistication, the villagers are also scandalised by Carmen’s modern attitudes to fashion and vulgar behaviour. Striding around the village like as it were a tourist attraction and she a visiting monarch, Carmen chews gum, breaks in to song at random and dances happily in her underwear on the green mountain hillsides.

The village is smallish community but fiercely proud of their local traditions. Many of the residents are happy to think that a “great artist” of the pedigree of Lily Carmen could have been born in their little village. In fact, this tiny settlement is something of a crucible for artistic talent and the extremely pompous school headmaster has a bee in his bonnet about bringing forth the future of Japan through cultural education. However, not quite all of the residents are so liberal and many live in fear of a feudalistic money lender named Maruju (Koji Mitsui) who runs the local transportation business (such as it is) but makes most of his money out of issuing exorbitant loans to desperate local people. Recently, he’s pointlessly repossessed an organ from the home of a man who was blinded during the war.

The headmaster is very keen for Carmen to come and bring some of her city sophistication back to the village, but no one has actually asked what kind of “art” Carmen is involved in. After a lot of chat from Carmen about how seriously she takes her work, people start wondering about this cutting edge performance art that their homegirl has apparently surrendered her life to. As if it weren’t obvious from her name, Carmen is a burlesque dancer. Quite a good, high grade burlesque dancer and, in fact, an artist, but essentially a stripper who really does take it all off in the end. Ever the enterprising businessman, Maruju decides to put on a show which he advertises with a big cart bearing the slogan “wild dancing by nude beauties” plastered on the side.

Needless to say this does not go down well with pompous headmaster and his plan to create a great city of highbrow artists. Striding straight over to talk to Carmen’s father Shoichi who’s only just got up from a few days in bed after Carmen’s last embarrassing faux pas, the principal intends to talk Carmen and her friend out of their scheduled performance. Her father, however, has a surprising reaction. He had an inkling what kind of life his runaway daughter must have been living. Shoichi put much of Carmen’s lack of acumen down to being kicked in the head by a cow as a child and realised it would be hard for her to find “respectable” work. He doesn’t want to see her “indecent” show and thinks the professor shouldn’t go either, but also thinks that if she’s good at it and it makes her happy then maybe that’s OK. After all, if it was that bad they wouldn’t allow it in the city and whatever’s good enough for the city ought to be good enough for the mountains. The headmaster, momentary stunned, is now confused and wondering if stopping the performance is an infringement on Carmen’s human rights.

Kinoshita refuses to take a side, he shows the ridiculousness of both the isolated villagers and the sophisticated city dwellers to great comic effect. Hideko Takamine is something of a revelation, cast completely against type as a bubbly, airhead showgirl. As is true with a lot of early colour films, or even a lot of early talkies, Carmen Comes Home has a built in gimmick and doesn’t really worry about doing very much beyond it. As such it keeps things light and bright and breezy, emphasising its high contrast colour palate every step of the way. A gentle comedy of manners as small town comforts rival big city liberalism with the obvious trade offs involved on either side, Carmen Comes Home might lack the substance of some of Kinoshita’s other work but makes up for it with general sunniness and effortlessly timeless humour.

Original trailer(s) (no subtitles):

The Eel (うなぎ, Shohei Imamura, 1997)

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The EelDirector Shohei Imamura once stated that he liked “messy” films. Interested in the lower half of the body and in the lower half of society, Imamura continued to point his camera into the awkward creases of human nature well into his 70s when his 16th feature, The Eel (うなぎ, Unagi), earned him his second Palme d’Or. Based on a novel by Akira Yoshimura, The Eel is about as messy as they come.

Mild-mannered salary man Yamashita (Kouji Yakusho) receives a handwritten letter filled with beautiful calligraphy delivering the ugly message that his wife has been entertaining another man whilst he enjoys his weekly all night fishing trips. Confused at first, the note begins to work its way into Yamashita’s psyche and so he decides to leave his next fishing trip a little earlier than usual. Peeping through the keyhole, he finds his beloved wife enjoying energetic, passion filled sex with another man. Drawing a knife from a nearby shelf, he enters the room and attacks the pair killing the woman but letting the lover get away.

Yamashita immediately and with perfect calmness turns himself in at the local police station, still covered in his wife’s blood and carrying the murder weapon. Released on a two year probationary period after eight years in jail, there is no one to meet Yamashita when he comes out and so he remains under the guardianship of a Buddhist priest in a nearby town. Accompanied by his only friend, a pet eel, Yamashita takes possession of a local disused barbershop and sets about trying to rebuild his life.

Things change when Yamashita comes across an unconscious woman lying in the grass while he’s out looking for things to feed his eel. The strange thing is, this woman looks exactly like his wife. Eventually, Keiko (Misa Shimizu) recovers and comes to work with Yamashita in his new enterprise but as the pair grow closer the spectres of both of their troubled pasts begin to intrude.

As the small town residents of Yamashita’s new home often remark, Yamashita is a strange man. His deepest relationship is with his eel which the prison guards, who seem quite well disposed towards him, allowed him to keep in the prison pond even though pets are not generally allowed. When asked why he likes his eel so much, Yamshita replies that the eel listens to him and doesn’t tell him the things he does not wish to hear. Like Yamashita, the eel is isolated inside his tank, content to absent himself from interacting with other creatures, both protected and constrained by transparent walls.

After his release from prison, Yamashita begins to reflect on his crime which he doesn’t so much regret but has no desire to repeat. His other double arrives in the form of fellow inmate and double murderer Tamasaki (Akira Emoto) who keeps trying to convince Yamashita that he is living dishonestly by not having visited his wife’s grave or read sutras for her. Though Yamashita pays no heed to most of his advice which is more self-pity and anger than any real concern for Yamashita’s soul, some things begin to get to him, most notably that perhaps the fateful letter never existed at all and is nothing more than the manifestation of Yamashita’s jealous rage.

Though the film presents everything that happens to Yamashita as “real”, his state of mind is continually uncertain. Not only is the provenance of the letter doubted, he doubts the existence of Keiko because she looks (to him at least) like the returned ghost of the woman he killed, and even the final confrontational arguments with Tamasaki take on an unreal quality, as if Yamashita were arguing with himself rather than another man who also represents his own worst qualities – impulsivity, violence, self doubt and insecurity. The film is so deeply embedded in Yamashita’s subjective viewpoint that almost nothing can be taken at face value.

Yamashita is, in a sense, trapped in a hall of mirrors as his own faults are reflected back at him through the people that he meets. Keiko, rather than being physically murdered by a jealous lover, attempted to take her own life after being misused by a faithless (married) man. Her past troubles are, in some ways, the inverse of Yamashita’s as she finds herself at the mercy of dark forces but internalises rather than externalises her own anger. Cheerful and outgoing, she quickly turns Yamshita’s barbershop into a warm and welcoming place which the local community takes to its heart.

Yamashita, however, remains as closed off as ever though he does strike up something of a relationship with a lonely young man who wants to use his barber’s pole to try and call aliens. When Yamashita asks him what he’s going to do if the aliens actually come, the young man replies that he wants to make friends with them. Yamashita astutely remarks that the young man’s desire to meet aliens is down to a failure to connect with people from his own planet – an idea which the young man equally fairly throws back at him. Perhaps out of fear rather than atonement, Yamashita exiles himself from the world at large though gradually through continued exposure to the genial townsfolk and Keiko’s deep seated faith in him, he does begin to swim towards the surface.

Imamura adopts his usual, slightly ironic tone to lighten this otherwise heavy tale allowing the occasional comic set piece to shine through. Yakusho delivers another characteristically nuanced performance as this entirely unformed man, unsure of reality and trapped in a spiral of self doubt and confusion. His original crime of passion is at once chilling in its calmness but also messy and violent as he gives in to animalistic rage. After showing us a street lamp glowing an ominous red, Imamura steeps us in blood as his camera becomes progressively more stained making it impossible to forget the shocking betrayal of this unexpected violence.

Yamashita remarks at one point that he died that day alongside his wife. The Eel is a story of rebirth as its protagonists begin to swim towards the shore in support of each other, though like the titular marine creature there is no guarantee that they will make there alive. Yamashita is a cold blooded murderer and creature of suppressed rage yet Imamura is not interested in moral judgements as much as he is in the messier sides of human nature. A chance offering of redemption for the unredeemable, The Eel offers hope for the hopeless in a world filled with goodhearted eccentrics where all faults are forgivable once they are understood.

Original trailer (no subtitles)

Swimming Upstream (バタアシ金魚, Joji Matsuoka, 1990)

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Swimming UpstreamSometimes love makes you do crazy things. Some people find themselves accomplishing previously unattainable feats powered only by the sheer force of romance. Unfortunately for the hero of Swimming Upstream (バタアシ金魚, Bataashi Kingyo), Joji’s Matsuoka’s adaptation of Minetaro Mochizuki’s manga, the task he sets for himself is a very lofty one indeed and may actually require him to abandon his love to complete it. Then again, the object of his affections shows little signs of reciprocation in any case.

Love found Kaoru (Michitaka Tsutsui) with a bucket of water. That is, he was hanging around one day when swimsuited beauty Sonoko (Saki Takaoka) soaked him by mistake but far from being annoyed, Kaoru falls in love at first sight and begins to pursue the star of the swim team even if she remains resolutely cold towards him. Kaoru immediately joins up just to be close to her even though he is actually afraid of water and does not know how to swim. Nevertheless he sets himself the task of becoming an olympic swimmer and bringing home a gold medal for his lady love. Needless to day, Sonoko is still not very interested in him.

Assisted by a strange old lady of swimming coach in sporting matters, and with an unlikely ally in Sonoko’s mother when it comes to romance, Kaoru works hard at his twin goals but makes little progress with either. His world is briefly shattered when he spots Sonoko arm in arm with the school’s star swimmer and he also faces a romantic dilemma in the form of his friend Pu whose motorbike he keeps borrowing to try and impress Sonoko despite the fact that Pu obviously has a crush on him. Nevertheless, Kaoru is undeterred until, that is, Sonoko’s actions convince him he may be doing more harm than good.

Matusoka’s film is most clearly concerned with recreating the contemporary high school summer for the presumed target audience of teenagers. Though it loosely adapts a classic sports movie romance format with Kaoru giving it his all in training, it stops short of the triumphant underdog trope as Kaoru never achieves the kind of sporting success one would expect. Though he quickly learns to swim and makes some progress, Kaoru retains a lingering fear of the water and is among the very weakest at the club. Still deluding himself with his Olympian dream, Kaoru even attempts to challenge the champion swimmer of another team (played by a very young Tadanobu Asano in his first film role) in a race for the rights to Kaoru. Needless to say, nothing goes his way.

If duelling over the “rights” to a girl seems like an old fashioned idea, Swimming Upstream is a very old fashioned film in terms of its sexual politics. The film stars popular idol Saki Takaoka as the unattainable Sonoko but is told very much from Kaoru’s point of view in which Sonoko is something to be won rather than another human being with independent will. Sonoko’s behaviour often is hard to categorise but, to borrow a term from the film’s manga roots, could easily be described as tsundere wherein she consistently rejects Kaoru’s advances before warming up to the idea just as he’s beginning to cool off. There may a fine line between persistence and and inappropriate behaviour but Kaoru’s level of devotion is the kind that straddles it. The teenage audience of 1990, however, may have seen things a little differently than that of today.

The audience of 1990 would doubtless also have been shocked by Sonoko’s rebellious lack of compliance with regular social norms. Far from the docile, cute, obedient and polite aura of the traditionally perfect girl next door in which idol movies specialise, Sonoko throws angry looks at everyone and talks back to her mother with extremely harsh words (though her mother wisely refuses to be shocked by them). In fact Sonoko is universally awful to everyone to the extent that it later seems that even one of her closest friends does not actually like her very much, but the worse she gets the more Kaoru refuses to be dissuaded.

Matsuoka mostly chooses to keep things simple with a light hearted, summery atmosphere primed to appeal to his audience of youngsters. Though intended as an innocent romance, contemporary audiences may read more darkness into the relentless war between the icy Sonoko and determined Kaoru but the adolescent intensity of young love does at least ring true. Caught between the quirkiness of its general tone and the heaviness of its themes, Swimming Upstream flounders in making its central connection work, rendering its overworked metaphor of a finale less than successful but does offer strong performances from both of its central stars.

Clip (no subtitles)

Summer Holiday Everyday (毎日が夏休み, Shusuke Kaneko, 1994)

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Summer Holiday EverydaySummer Holiday Everyday – It’s certainly an upbeat way to describe unemployment but then everything is improbably upbeat and cheerful in the always sunny world of Shusuke Kaneko’s adaptation of Yumiko Oshima’s shoujo manga. Published in the mid-bubble era of 1988, Oshima’s world is one in which anything is possible but by the time of the live action movie release in 1994 perhaps this was not so much the case. Nevertheless, Kaneko’s film retains the happy-go-lucky tone and offers note of celebration for the unconventional as a path to success and individual happiness.

Told from the point of view of 14 year old Sugina (Hinako Saeki) who offers us a voiceover guide to her everyday life, Summer Holiday Everyday (毎日が夏休み, Mainichi ga Natsuyasumi) follows the adventures of the slightly unusual Rinkaiji family. Sugina’s mother is divorced from her father and has remarried a successful salary man, himself a divorcee, ten years ago. The family lives in fairly peaceful domesticity and Sugina’s mother, Yoshiko (Jun Fubuki), even remarks how glad she is that her daughter gets on so well with her step-father, Nariyuki (Shiro Sano), though Sugina claims this is largely because she can’t remember actually speaking to him very much over the last ten years.

The pair are about become closer though it risks tearing their perfectly normal family apart. Sugina has been skipping school due to bullying and spends her days in the local park where, unbeknownst to her, her step-father has also been wasting his days after quitting a job he could no longer stand. After getting over the embarrassment of this accidental encounter, Sugina and Nariyuki confess everything to each other and Nariyuki makes a bold decision. Sugina can quit school (seeing as her grades were terrible anyway) and come work with him in his new enterprise – the Rinakaiji Heart Service, helping the community 24/7 with assistance in those difficult to handle odd jobs everyone needs doing.

Quitting a lucrative and secure job for the risk associated with staring a new business is a difficult decision in any society but is more or less unthinkable in Japan. Yoshiko is beyond stunned by her husband’s decision, not to mention the fact that her daughter has been deceiving her by skipping school and faking her report cards to make it look like her grades were much better than they are. Immediately worrying about what the neighbours will think, Yoshiko finds it hard to deal with the embarrassment of her husband and teenage daughter going door-to-door and doing menial work in the community, especially when she overhears the snickers of gossipy housewives in the local supermarket. For Yoshiko, whose sense of self worth was bound up with having a successful husband employed at a top tier company, Nariyuki’s sudden lurch towards individual freedom has destabilised her entire existence. Her world ceases to make sense.

Yoshiko’s sense of displacement is deepened when the fledgling company’s second job offer comes from Nariyuki’s ex-wife. Beniko (Hitomi Takahashi) left Nariyuki for another man because she failed to appreciate Nariyuki’s gentle charms and he was too mild mannered to fight for his wife even if he loved her deeply. What’s more, Nariyuki’s unconventional approach to life has earned him a spot in the papers and brought the family back to the attention of Sugina’s father, Ejima (Akira Onodera).

Early on Nariyuki states that life’s true radiance is only visible through suffering and later says that pain and suffering are essential parts of human existence. Nariyuki, now making a stand for himself for the first time in his life, remains philosophical in the face of hardship though perhaps has more faith in Yoshiko’s ability to follow him down this untrodden path than was wise. As a son and then a husband, Nariyuki may be a methodical sort but he’s unused to the idea of caring for himself as his comical attempts at doing the housework show. After almost burning the house down several times, Nariyuki does indeed figure out an efficient way of managing the household chores and seeing to Sugina’s education whilst also allowing his wife become the family breadwinner. However, Yoshiko’s new line of work is one she finds both unpleasant and degrading and she probably hoped that Nariyuki would strenuously try to stop her doing it so it’s not quite as much of a progressive approach as might be hoped.

After countless setbacks, humorous adventures, and a major fire Nariyuki’s enterprise begins to catch on. Brought together in shared crisis, the family unit only becomes stronger and more committed to their shared destinies. In fact, the family expands as Sugina rebuilds her relationship with birth father and even gains a new aunt figure in the form of her step-father’s youthful ex-wife. When you love what you do everyday is a holiday, and Sugina’s path, unconventional as it is, is one that leads her into the sunlight guided by Nariyuki’s oddly philosophical wisdom.

Original trailer (no subtitles)

Goodbye for Tomorrow (あした, Nobuhiko Obayashi, 1995)

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goodbye for tomorrowAfter completing his first “Onomichi Trilogy” in the 1980s, Obayashi returned a decade later for round two with another three films using his picturesque home town as a backdrop. Goodbye For Tomorrow (あした, Ashita) is the second of these, but unlike Chizuko’s Younger Sister or One Summer’s Day which both return to Obayashi’s concern with youth, Goodbye For Tomorrow casts its net a little wider as it explores the grief stricken inertia of a group of people from all ages and backgrounds left behind when a routine ferry journey turns into an unexpected tragedy.

Three months after nine people were drowned when a local ferry sank in the harbour, friends and relatives of the dead begin to receive messages signed by their loved ones instructing them to be at a small island at midnight. Cruel joke or not, each of the still grieving recipients makes their way to the boathouse, clutching the desperate hope that the dead will really return to them. Sure enough, on the stroke of midnight the ghostly boat rises from the ocean floor bringing a collection of lost souls with it, but its stay is a temporary one – just long enough to say goodbye.

Obayashi once again begins the film with an intertile-style message to the effect that sometimes meetings are arranged just to say goodbye. He then includes two brief “prequel” sequences to the contemporary set main narrative. The first of these takes place ten years previously in which a boy called Mitsugu throws a message wrapped around a rock into a school room where his friend Noriko is studying. We then flash forward to three months before the main action, around the time of the boat accident, where an assassination attempt is made on the life of a local gangster in a barber shop. At first the connection between these events is unclear as messages begin to arrive in innovative ways in the film’s “present”. After a while we begin to realise that the recipients of the messages are so shocked to receive them because they believe the senders to be dead.

At three months since the sinking, the grief is still raw and each of our protagonists has found themselves trapped in a kind of inertia, left alone so suddenly without the chance to say goodbye. The left behind range from a teenager whose young love story has been severed by tragedy, a middle aged man who lost a wife and daughter and now regrets spending so much time on something as trivial as work, a middle aged trophy wife and the colleague who both loved a successful businessman, two swimmers with unresolved romances, and the yakuza boss who lost his wife and grandson. For some the desire is to join their loved ones wherever it is that they’re going, others feel they need to live on with double the passion in the name of the dead but they are all brought together by a need to meet the past head on and come to terms with it so that they can emerge from a living limbo and decide which side of the divide they need to be on.

Aside from the temporary transparency of the border between the mortal world and that of the dead, the living make an intrusion in the form of the ongoing yakuza gang war. The Noriko (Kaori Takahashi) from the film’s prequel sequence also ends up at the meeting point through sheer chance, as does the Mitsugu (Yasufumi Hayashi), now a gangster and charged with the unpleasant task of offing the old man despite his longstanding debt of loyalty to him. These are the only two still living souls brought together by an unresolved message bringing the events full circle as they achieve a kind of closure (with the hope of a new beginning) on their frustrated childhood romance.

The other two hangers on, an ambitious yakuza with a toothache played by frequent Obayashi collaborator Ittoku Kishibe, and a lunatic wildcat sociopath played by the ubiquitous Tomorowo Taguchi, are more or less comic relief as they hide out in the forrest confused by the massing group of unexpected visitors who’ve completely ruined their plot to assassinate the old yakuza boss and assume control of the clan. However, they too are also forced to face the relationship problems which bought them to this point and receive unexpected support from the boss’ retuned spouse who points out that this situation is partly his own fault for failing to appreciate the skills of each of his men individually. The boss decides to make a sacrifice in favour of the younger generation but his final acts are those of forgiveness and a plea for those staying behind to forget their differences and work together.

Revisiting Obayashi’s frequent themes of loss and the need to keep living after tragedy strikes, Goodbye For Tomorrow is a melancholy character study of the effects of grief when loved ones are taken without the chance for goodbyes. Aside from the earliest sepia tinged sequence, Obayashi plays with colour less than in his other films but manages to make the improbable sight of the sunken boat rising from the bottom of the sea genuinely unsettling. The supernatural mixes with the natural in unexplained ways and Obayashi even makes room for The Little Girl Who Conquered Time’s Tomoyo Harada as a mysterious spirit of loneliness, as well as a cameo for ‘80s leading man Toshinori Omi. The Japanese title of the film simply means “tomorrow” which gives a hint as to the broadly positive sense of forward motion in the film though the importance “goodbye” is also paramount. The slight awkwardness of the English title is therefore explained – saying goodbye to yesterday is a painful act but necessary for tomorrow’s sake.

 

Oh Seagull, Have You Seen the Sparkling Ocean? : An Encounter (鴎よ、きらめく海を見たか めぐり逢い, Kenji Yoshida, 1975)

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seagullSparkling seas sound like hopeful things, especially if you’re a majestic seagull flying far above, bathed in perpetual sunshine. But then, perhaps the water below is shining with the shards of broken hopes which float on its surface, is its beauty treacherous or in earnest? So asks the singer of the title song which recurs throughout the film as if to undercut even its brief moments of happiness. There is precious little joy to be found in the lives of the two protagonists of Oh Seagull, Have You Seen the Sparkling Ocean? : An Encounter (鴎よ、きらめく海を見たか めぐり逢い, Kamome yo, Kirameku Umi wo Mitaka: Meguriai), only pain and confusion as they try to rebuild their ruined lives in an uncaring city.

Katsuo is a drifting young man, one of the many to have escaped the mining industry after the pits began to close down but now finds only temporary manual work available to him. In Tokyo, he works as part of a window washing team, gazing into high rise office buildings which are a world away from his precarious hand to mouth existence. In one particular window he spots an office lady attempting to straighten her stockings in an otherwise empty room. Smitten he decides to pursue the woman though she is far from interested in a peeping tom of a window guy who’s coming on far too strong.

Kumi has her own problems. Like Katsuo she’s found herself in the city after escaping a life of poverty and the unwanted attentions of a relative in a fishing village. Her sights are set a little higher in the increasingly consumerist environment of ‘70s Tokyo, hence her high rise career and desire to find the right kind of husband. However, even here, she doesn’t seem able to get away from possessive men and is stalked by an ex-boyfriend who just won’t take no for an answer.

Eventually Kumi and Katsuo grow closer but on a visit to the beach come across an injured seagull which Kumi immediately tries to bury despite the fact it isn’t actually dead yet – better to die than live on in shame, says Kumi. Katsuo disagrees and decides to take it home and nurse it back to health though Kumi breaks up with him because of it. After a chance encounter the pair get back together but their fragile love story is under attack from every possible direction.

Katsuo and Kumi have each led difficult lives though they have very different ways of coping with trauma. Katuso has retreated into a fantasy world inspired by Gaugin’s famous painting Where do we come from? What are we? Where are we going?. When he first meets Kumi, all Katsuo can talk about is Resipuruko and how wonderful everything will be when he gets there. The speech exasperates Kumi who at first feels stupid for not having heard of Resipuruko, but then cheated to discover its just a made up place of the kind that children create out of fun. Nevertheless, Resipuruko continues to become a symbol in their lives, a place of hope and peace in which they would be able to live together freely and in comfort, away from the difficulties of everyday city life.

Katsuo is cheerful and optimistic. Not exactly forward looking but proceeding in the name of hope. Kumi is driven more by fear and resentment, constantly looking behind her rather than ahead. Though Katsuo’s life has not been easy, Kumi has experienced more suffering with less agency which has left her with far less capacity for making the best of things. Like Nina in Chekov’s play, she is the seagull – something beautiful, destroyed, just because it could be. Katsuo’s efforts to heal the wounded bird run in parallel to his desire to save Kumi but then, the seagull wants to be free and Kumi is forced to feel as if she never will be.

At one point Kumi says she and Katsuo are on different sides of an invisible window and it’s true that they’re opposites in many ways – he thrives on fantasy, she is destroyed by reality, but they could be perfectly happy together if it weren’t for the vagaries of fate.  Oh Seagull, Have You Seen the Sparkling Ocean? : An Encounter, is a tale of tragedy as young lives are ruined by time and circumstance, leaving them with only broken hearts to face the unfair world before them. Resipuruko exists only in a spiritual sense, but it can be called forth if you believe in it enough. Dreams are fragile things, whether realistic or fantastical, but they, like the seagull, deserve their time to fly unfettered.

Original trailer (no subtitles)

Maison Ikkoku: Apartment Fantasy (めぞん一刻, Shinichiro Sawai, 1986)

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Maison IkkouIf you’ve always fancied a stay at that inn the Katakuris run but aren’t really into zombies and murder etc, you could think about spending some time at Maison Ikkoku (めぞん一刻). Based on the classic 1980s manga by Rumiko Takahashi, the 1986 live action adaptation is every bit as zany as you’d hope. Eccentric tenants, women pulled from ponds, bank robbers, and an all star dog. It’s a pretty full house, but if anything’s for certain it’s the more the merrier over at Maison Ikkoku.

Godai (Ken Ishiguro), a would-be student retaking his university entrance exams, has finally had enough and vowed to move out of Maison Ikkoku for good but just as he’s made his decision, an elegant woman arrives with a big white dog. The beautiful lady, Kyoko (Mariko Ishihara), is their new building manager. Godai falls instantly in love with her and decides to stay, but Kyoko has her own reasons for coming to Maison Ikkoku and isn’t quite ready to engage in a romance with a feckless student.

Kyoko also makes the mistake of reminding the collection of eccentric tenants that they’re behind on their rent. There are currently four residents occupying the apartment building including Godai. He’s joined by the mysterious Yotsuya (Masato Ibu) who seems to have several different jobs and speaks in an overly formal manner, Ichinose (Yumiko Fujita) – a gossipy middle aged housewife, and Akemi (Yoshiko Miyazaki) who works at a nearby bar and is almost always in her underwear. They don’t want to pay so they start coming up with plans to stop Kyoko coming after them for the money – the first one being to drug and assault her so she’ll be too embarrassed to talk to them again! Went dark quickly, didn’t it?

Despite the quirky goings on, the presence of death is constant. Kyoko is an extremely young widow sill mourning the death of her husband and has even named her dog after him. Shinichiro keeps making his ghostly presence known to her by ringing the nearby shrine bells or stealing her umbrella, making it impossible for Kyoko to move on. A non-resident but frequent visitor (played by Kunie Tanaka) recounts that his wife left him and took part in a double suicide with another man, whilst the gang also picks up another member in the form of a woman that Yotsuya claims to have fished out of the lake after she “got caught on his pole” and is now a little obsessed with him thinking that he’s the boyfriend she tried to commit suicide over.

If that all sounds a little heavy, Sawai makes sure to pile on the absurdism to keep things light and even includes a few visual gags such as a floating geisha doll during Yotsuya’s “I regret preventing a woman’s suicide because it turns out she’s quite annoying” speech. About half way through the film the entire gang suddenly decides they’re going to perform an “Ikkoku speciality” in celebration of Godai’s success which turns out to be a full scale song and dance number with everyone dressed in outfits that reflect their personality from Yotsuya in his temple singer garb, Ichinose in her wedding dress, Akemi in a nurses outfit, and Godai and Kyoto both in a school uniform, to the mysterious man dressed as a hardboiled detective the failed suicide woman for some reason dressed as a nun. Just when a big “The End” sign pops up we get yet another song accompanied by glow sticks waving in the background.

The main “drama” revolves around Godai’s attempts to pass his university entrance exams and win the heart of Kyoko though there are also various subplots concerning the odd rivalry between Yotsuya and the mysterious man over a bank robbery as well as their attempts to evade the police. Maison Ikkoku becomes a kind of sanctuary where those with wounded hearts can find a place to heal themselves. Occasionally bleak, such as in the frequent references to death and suicide, Maison Ikkoku is an absurd place filled with larger than life characters acting out their surreal existence in this shared paradise of a rundown boarding house in a quiet backwater. The film ends on another ironic note as the party goes on but the Gilbert O’Sullivan track Alone Again, Naturally plays over the end credits which is, of course, about the singer’s intention to commit suicide after being jilted at the altar. A strange if well crafted film, Maison Ikkoku is in someways ahead of its time in the quirky humour stakes but also makes use of a typically ‘80s kind of absurdism which fuses black humour with innocent, youthful charm.

Original Trailer(s) (No subtitles)

Twinkle (きらきらひかる, Joji Matsuoka, 1992)

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TwinkleThe end of the Bubble Economy created a profound sense of national confusion in Japan, leading to what become known as a “lost generation” left behind in the difficult ‘90s. Yet for all of the cultural trauma it also presented an opportunity and a willingness to investigate hitherto taboo subject matters. In the early ‘90s homosexuality finally began to become mainstream as the “gay boom” saw media embracing homosexual storylines with even ultra independent movies such as A Touch of Fever becoming unexpected box office hits. Based on the book by Kaori Ekuni, Joji Matsuoka’s Twinkle (きらきらひかる, Kira Kira Hikaru) tackles this subject head on in examining the changing nature of the modern family as personal freedom and greater social liberalism conflict with familial duty and centuries old tradition.

We first meet Shoko (Hiroko Yakushimaru) in the office of a doctor who assures her that her “problems” are nothing to worry about and the best thing to do is find “a nice man” and get married after which she’s sure to feel much better. On the taxi ride home, her mother suddenly pulls out an omiai photo she’s apparently been carrying in her bag the whole time and proposes Shoko try meeting this particular prospect just as the doctor suggested.

Her “date” is Mitsuki (Etsushi Toyokawa) – an unmarried middled aged doctor who doesn’t seem very interested in the omiai business either. After a brief period of bickering, Shoko and Mitsuki get some time to themselves at which point Mitsuki reveals that the reason he isn’t married is because he has a boyfriend. Despite this, the pair come to an understanding and decide to get married to finally get their relatives off their backs. However, if they thought the pressure would go away after the wedding, they were mistaken. Though both sets of parents know about their children’s reasons for originally avoiding marriage, they don’t know about those of the spouses and when they find out it’s just going to get even more complicated.

We don’t find out exactly what “problems” Shoko may have had in the past. On the morning of the omiai her family dog dies meaning she has an obvious reason to appear visibly upset, yet she also displays symptoms of ongoing depression right the way through the film, flitting between upbeat cheerfulness to impulsive behaviour and crying fits. She also has a long standing drink problem which can result in dangerous accidents such as an incident where Mitsuki returns home to find her passed out on the floor with the iron in one hand and an empty glass of whiskey apparently fallen out of the other.

Mitsuki is in a relationship with a much younger college student and, though they don’t seem to go out of their way to hide their relationship, they can’t exactly be open about it either. Kon did not approve of Mitsuki’s decision to get married and has been avoiding him but Shoko is keen for the two men’s relationship to continue, eventually befriending the young man and bringing him home as fully fledged member of their family. Mitsuki finds this arrangement quite confusing, trapped between two spouses and feeling a responsibility to both of them. In one notable exchange he’s asked to make the relatively simple choice between strawberry and vanilla ice-cream, but the question has taken on a much wider implication than just tonight’s dessert.

The arrangement starts out well enough, except that the growing affection between the married couple eventually begins to place a wedge between them, each knowing that they can never truly satisfy the demands of the other. Not satisfied with a marriage, the parents also expect children which is going to require medical assistance given the circumstances, but Mitsuki is still unsure about taking this next step. Shoko, though experiencing a intensification of her emotional volatility, now suggests a truly radical solution for the early ‘90s – that she undergo artificial insemination using the mixed sperm of both Mitsuki and Kon to essentially have “their” baby.

Shoko and Mitsuki are both trapped, in a sense, by their societal obligations – particularly that of producing children. Mitsuki’s parents know he’s gay, though they tolerate more than accept, yet they still pressure him into fathering a child for appearance’s sake alone. His father had come to terms with his son’s sexuality, even if Mitsuki refers to himself as a son who has “betrayed” his father, but he was against the marriage viewing it as cruel and irresponsible. Once Shoko’s parents discover the real reasoning they try to take over, ignoring Shoko’s views (and even her first clear stating of her problems with alcohol), acting as if they were the injured party.

Though slightly older, Shoko and Mitsuki have found themselves at the centre of a generational conflict as they fight to free themselves from parental control even in adulthood. The future they propose for themselves is an unusual one and unlikely to be accepted by society, yet it is finally their own decision and only by unshackling themselves from the same social pressures which brought them together can they learn to forge a new future. Ten years later, Ryosuke Hashiguchi’s Hush! would suggest a similar scenario which, though still not universally accepted, is greeted with much less resistance than the entirely radical arrangement of Shoko, Mitsuki, and Kon. An interesting look at the changing nature of  social bonds in the immediate post-bubble era, Twinkle is a melancholic though ultimately hopeful tale of three individuals who might be able to provide the stability each needs if only they can learn to withstand the overwhelming external pressures.

Original trailer (no subtitles)

Memories of You (ラブ・ストーリーを君に, Shinichiro Sawai, 1988)

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Memories of youIf you thought idol movies were all cute and quirky stories of eccentric high school girls with pretty, poppy voices then think again because Memories of You is coming for you and your faith in idols to make everything better. Directed by W’s Tragedy‘s Shinichiro Sawai, Memories of You (ラブ・ストーリーを君に, Love Story wo Kimi Ni) stars one of the biggest idols of them all – Kumiko Goto, only 14 years old at the time of filming. Seemingly inspired by classic Hollywood melodramas of the ‘50s, Sawai’s film finds its innocent protagonist attempting to live an entire lifetime in only six months as she succumbs to a cruel and relentless disease.

Giving no clue as to its eventual destination, Memories of You begins with two young men returning from a hiking trip. You can tell the pair are committed alpinists because of their distinctly alpine attire and by the way they look at a glockenspiel. In this early comic scene, Araki (Shingo Yanagisawa) is heading straight to an important job interview that he hopes will help him get his girl back if he’s hired so he’s talking a mile a minute whilst awkwardly changing into a business suit inside a photo booth.

The other young man, Akira (Toru Nakamura), runs into the star of film, Yumi (Kumiko Goto), on her way back from the hospital. Akira used to be Yumi’s tutor and it’s obvious she has kind of a crush on him. Unbeknownst to Yumi, the results of her tests are much more serious than might be assumed from her cheerful persona. Yumi has leukaemia and the doctors do not expect her to survive for more than six months at most.

Yumi’s devasted mother shifts her grief away from the pain of losing her only child, to that of her stolen future – no high school, no romance, no love, marriage, or children. Accordingly she asks teacher in training Akira for a considerable sacrifice – essentially, pretend to date Yumi and give her the kind of love story that she will never now be able to experience.

Needless to say, this is a little creepy given that Akira is in in his mid-twenties and Yumi is only fourteen. Of course, it’s all very chaste and innocent like something out of a shoujo manga but still even in 1988 the scenario rings alarm bells. Akira is conflicted about his new role as a fake boyfriend for a dying teenager but it would be heartless to refuse, though one may wonder about what effect all of this may have on his future chosen career.

The world of 1988 is noticeably sexist in that Yumi’s mother works as a cookery teacher, reminding her pupil’s that this is the most important course because they’ll all be competing with their future mother-in-laws in the great culinary battle to win their husband’s hearts. These girls are raised to be housewives and nothing more, although, Yumi’s mother is divorced and now has a career, is taking care of Yumi alone and is not particularly looking to remarry. So, swings and roundabouts in terms of social progress.

The film flits between the viewpoints of Yumi and Akira as they both try to adapt to this unusual situation. As is common in these kinds of films, Yumi is not quite as in the dark as everyone had assumed and is readying herself to say her final goodbyes. This also brings about a reunion with her long absent father who has emigrated to Canada where he has a new wife and younger daughter. Yumi’s family status is an uncommon one for 1988, yet there is relatively little stigma surrounding it. Perhaps her father’s return after three years is one factor in Yumi’s realisation of the seriousness of her condition (as her mother feared it might be) but the final reconciliation does at least bring her a little more calmness and stability.

Yumi’s illness is a mountain which cannot be conquered. The beauty of the natural world and the desire to overcome it, in a sense, through physical exertion are the chief motifs of the film as Yumi dreams of travelling to Switzerland – the spiritual home of alpinism (it would seem). The loving looks at the glockenspiel in the opening scenes develop into an underlying musical theme as they also recur during the lengthy cabaret sequence close to the film’s climax. Of course, Yumi finally attempts to climb her mountain with Akira as her guide but there is only so far she can proceed.

Despite its melodramatic touches and desire to be a grand tearjerker, Memories of You is too restrained to make the full force of its tragedy achieve the kind of emotional effect that it aims for. Filled with syrupy, orchestral music very much like that employed by classic Hollywood examples of the genre, Memories of You really wants the viewer to experience the intense sadness of such a young life taken by a cruel and indiscriminating disease but often overplays its hand. This isn’t helped by the unsettling nature of the “romance” between Akira and Yumi or the (entirely understandable) lack of chemistry between the leads who each give independently high quality performances. An interesting example of an “idol movie” which steps outside the genre norms, Memories of You doesn’t quite have the courage of its convictions but is another nicely photographed effort from Sawai.

End credits and title song (not sung by Kumiko Goto)

Young Girls in Love (恋する女たち, Kazuki Omori, 1986)

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young women in loveThe friends you make in high school are the friends you’ll have the rest of your life, says Takako – the heroine of Kazuki Omori’s Young Girls in Love (恋する女たち, Koisuru Onnatachi). Only she doesn’t quite want hers – they’re weird and cause her nothing but trouble. Also one of them is too pretty so she soaks up all of the attention – where’s the fun in that? Takako is not altogether happy in her adolescence but at least she has her friends there beside her, right?

Takako’s two best friends have both recently fallen in love leaving her feeling a little left out. Midoriko (Mamiko Takai), the most “unusual” girl in her group (but also thought to be the prettiest), had fallen in love with a teacher and even struck up something of a friendship with him as evidenced by her collection of cute photos of them together. However, he’s recently got married leaving her heartbroken so Midoriko is having another one of her trademark “funerals” in which she buries painful memories from her past. Previously she’s had funerals for an unfortunate PE related incident in which she ripped her shorts during gymnastics, and another for when her grades got so bad that the teachers told her she probably wouldn’t graduate from high school.

Teiko has a difficult homelife as her literature professor father has left the family for unspecified reasons and her mother is still mourning the end of the marriage. However, she has found herself and older poet who formerly wrote lyrics for cheesy teen idol pop songs (though he’s a serious poet now so that’s all beneath and behind him). Teiko knows that this relationship is doomed to failure but is pursuing it in any case.

Takako is so wound up by her friend’s series of love stories that she finds herself visiting “raunchy” movies like 9 1/2 weeks. This is where she encounters possible crush and high school baseball star Kutsukake (Toshiro Yanagiba), but does she really like him or is she just lovesick and jealous of her friends? A new complication also arises in the form of fellow student Kanzake (Yusuke Kawazu) who previously had a crush on older sister Hiroko (Kiwako Harada) but seems to have shifted his attentions on to Takako.

Young Girls in Love is a little broader than the average idol drama though it maintains an overall quirky tone with a few swings towards melodrama. Takako continues with her romantic dilemma although in contrast to what she says towards the opening of the film she mostly does so alone. Rather than her similarly romantically troubled friends, Takako confides in a painter friend, Kinuko (Satomi Kobayashi) who has some rather more grown up advice for her than other friends (or sister) are willing or able to offer.

During her troubles Takako also goes to visit another girl who is kind of involved with low level bosozoku motorcycle gangs, and finds out that her morbid friend Midoriko has gone seriously off the rails. Leading some kind of double life, Midoriko is a disco queen in another town, dancing her troubles away and enchanting all the boys in the club (including the other girl’s biker boyfriend). Distressed, yet a little envious of Midoriko’s ability to soak up all the attention for herself, Takako is the only one to try and intervene during a drag race duel though little heed is given to her desperate plea for sanity and she is only one that gets hurt during the proceedings.

It’s all fairly innocent stuff even though biker gangs, older boyfriends, and boyfriend stealing, all fall into the mix. Omori keeps things simple and brings his idols to the fore to do what they do best though he does overly rely on TV style reaction shots for some of his gags. According to the anecdote Takako offers at the end, none of the various love stories have worked out they way the girls hoped (at least for now) but everything carries on more or less as normal. The three girls have another of their traditional extreme tea ceremonies dressed in kimono and sitting on the edge of a cliff, but they’re all still together despite their recent romantic adventures. The real love story is between three childhood friends who may have temporarily drifted apart over teenage drama, but their bonds are strong enough to withstand the storm and, as Takako stated in the beginning of the film, they’ll be together for the rest of their lives.

Original trailer (no subtitles)