Already a well respected and much in demand director of television commercials Jun Ichikawa released his debut feature, Bu Su (BU・SU), in 1987. “Bu Su” is, loosely translated, pejorative slang for a woman who is not considered to be attractive. The closest equivalent, in British English at least, would be something like “a dog”. It’s especially ironic then that the movie was conceived as a vehicle for a popular idol whose success was perhaps dependent on a perception of attractiveness, or at least of “kawaii” innocence. Yasuko Tomita was at that time at the height of her fame having shot to stardom through open audition leading to an award winning role in Aiko 16 Sai. Two years later she starred for Nobuhiko Obayashi, who was originally slated to direct Bu Su, in Miss Lonely, but even in comparison to Obayashi’s melancholy heroines, Bu Su’s Mugiko (Yasuko Tomita) is a particularly moody teen, the “ugliness” here apparently relating to her emotional isolation.
For reasons we never quite understand, Mugiko leaves her island home after a traumatic incident and moves in with her aunt in Tokyo with the intention of becoming a geisha. It seem’s Mugiko’s mother was once a famous geisha herself until she met Mugiko’s late father and left for a more conventional life in the peaceful countryside. Mugiko’s flight then has a peculiarly perverse quality in being both to and from her mother with whom she seems to be on bad terms despite her mother’s obvious affection for her. Unfortunately Mugiko is not a fantastic fit for the world of the geisha, being somewhat innocent and childishly clumsy, not to mention her ongoing grumpiness. Nevertheless, everyone at the geisha house is keen to help her if only out of loyalty to her mother.
At school, meanwhile, Mugiko is nervous and withdrawn, barely audible during her introduction to her new classmates and with her eyes permanently on the floor. Her teacher, taking her aside, adds to the mystery in remarking that she’s certainly been through a lot back in Izu and that she should leave all that behind and try to make a new start. Nevertheless, she remains sullen and isolated, barely speaking to anyone yet perhaps examining the dynamics of the people around her. Maybe that’s why she alone finds the strength to stand up to a popular kid bullying another girl (Yuriko Hirooka) considered to be “plain” with a mean trick teasing a nasty surprise lurking in a box which turns out to be nothing more than a hand mirror.
Mugiko might not be quite sure what it is that’s worrying her, or at least we can’t be sure because we don’t know exactly what happened in Izu, but the rest of her classmates have their own insecurities to deal with from Sakurako’s preoccupation with her perceived lack of looks to boxing enthusiast Tsuda (Masahiro Takashima) who knows he’s not much for studying but is less than convinced of the possibility of living off his fists. What they’re going through is the normal teenage process of figuring themselves out, which they begin to do through the time-honoured fashion of the school cultural festival which is an extra special event this year because it’s the school’s centenary. Goaded into it by the mean popular girl who meant to embarrass her by outing her as a geisha, Mugiko agrees to dance the dance of Yaoya Oshichi who was prepared to burn the world in the hope of meeting her love.
Yaoya Oshichi was burned at the stake for arson, and though Mugiko’s path eventually ends in flames they’re of a much less threatening variety. When she first arrives in Tokyo we see her taking in some of the iconic sights of the city, crossing at Shibuya Scramble and taking a stroll through upscale Ginza before taking a bite out of a fast food hamburger as if she were about to taste some famous local delicacy. When not training with the other geisha we see her wander through the city alone, sullen but also taking pleasure in exploring her new environment. It’s here that we hear the film’s title uttered, crudely, by a sleazy middle-aged man who picks Mugiko up and takes her to a coffeeshop where he embarks on weird chat up lines about the beauty of the local railway before trying to drag her into a love hotel. Luckily, Mugiko manages to get away from him only for the man to shout “busu” after her, implying that he didn’t want her anyway but also that her refusal is in someway arrogant.
By Ichikawa’s logic, Mugiko’s “busu”ness is not because she’s “ugly” but that she’s so sour faced, permanently sulky and angrily keeping a deliberate distance from everyone around her. We see her spikily refuse her mother’s tearful attempt to see her off to the train, and then speak rudely to her on the phone, while remaining aloof from most of the other geishas save her aunt’s daughter, primed to take over the business but unbeknownst to most longing for a more conventional life with a boring salaryman husband. Yet through all of these encounters, some friendlier than others, her heart finally begins to open and she’s no longer so closed off or aloof, eventually able to laugh along with her mother and pithily dismiss her questions with the generic answers that Tokyo is “fun” and yes she’s going to school. Mugiko’s path is certainly a meandering one, taking the scenic route through the charms of bubble era Tokyo, but it has its charms and even if she takes her time she gets there in the end, smiling at last having rediscovered the joys of being alive.
Short clip (Japanese subtitles only)
Akio Jissoji has one of the most diverse filmographies of any director to date. In a career that also encompasses the landmark tokusatsu franchise Ultraman and a large selection of children’s TV, Jissoji made his mark as an avant-garde director through his three Buddhist themed art films for ATG. Summer of Ubume (姑獲鳥の夏, Ubume no Natsu) is a relatively late effort and finds Jissoji adapting a supernatural mystery novel penned by Natsuhiko Kyogoku neatly marrying most of his central concerns into one complex detective story.
Windows on Worlds 