Tomorowo Taguchi is probably best known to international audiences for his starring role in Tetsuo the Iron Man, but he started his career as an illustrator and theatre actor while also active in Japan’s underground punk music scene as a member of the band Bachikaburi. For the last few decades, he’s been a fairly ubiquitous presence in mainstream Japanese films as a jobbing actor turning up in small supporting roles in all sorts of unexpected places, but Street Kingdom (ストリート・キングダム 自分の音を鳴らせ, Street Kingdom: Jibun no Oto wo Narase) is a look back to the early years of the punk movement and the creation of Telegraph Records.
Scripted by Kankuro Kudo, most of the names in the film have been slightly altered to reflect the fictionalisation of the narrative and so we follow Yuichi Hibiki (based on Yuichi Jibiki and played by Kazunobu Mineta), a struggling photographer who feels lost in an increasingly consumerist Japan. Like many of his generation, he spent his formative years in the student movement and is looking for a way to fill that void following the movement’s collapse in the wake of the Asama-sanso Incident. Japan’s economy had improved quite markedly by then and many former student protesters simply moved on into more mainstream lives as regular salaryman men and women, much as Yuichi’s friend has done by joining a record label and becoming obsessed with Pink Lady, the epitome of the disposable contemporary pop music topping the charts and making them money. Inspired by Yuichi, the friend later also jacks in his corporate career and becomes a punk rocker because he too discovers he wants more than the emptiness of a salaryman existence.
After a trip back to his family pig farm, Yuichi’s epiphany comes after hearing the Sex Pistols on the radio, though he is dismayed to find out that they have already broken up. Nevertheless, he determines to go Tokyo and find the real Japanese punk as opposed to that imported from New York or London. It’s inside this world that finds freedom outside of the Japanese mainstream as an independent artist, vowing to create a Street Kingdom with Momo (Ryuya Wakaba), the lead singer of influential band Tokage, and zine publisher Sachi (Riho Yoshioka). An out-of-touch journalist at one point tries to offer them expensive champagne and shames the band members for still living at home with their parents, and there is something a little bit incongruous about Momo’s lovely mother asking him what he wants for his tea before he goes off to play one of his anarchic gigs. But in another way, this is exactly the essence of punk in the sense of domesticity, friendships and solidarity that existed between the members of this community.
It all only begins to go wrong when the music labels start getting involved and commercial decisions conflict with artistic ones. Yuichi becomes a de facto manger because he’s a “decent” sort, which is to say he’s a bit of a square existing to one side of the movement which is a designation he resents at times, but also allows him a more privileged position of guiding it. He’s the one who advises they quit on a high after their “Tokyo Rockers” multi-band tour threatens to get too big and provoke rivalries and discord in what had been a fairly non-competitive, collegiate scene. He also helps Momo overcome some of his artistic conflicts by starting a parallel indie label so they can release songs the label rejects, such a nonsense tune about fish and pollution that the suits deem “too political”. What he can’t fully help with, however, is Momo’s descent into depression and drug abuse when the label pushes the band into debt, refuses to help financially after their band members are involved in a crash while on tour, and finally suggests they were only really interested in Momo as a potential solo artist doing more mainstream pop. Nevertheless, it’s Yuich’s friendly intervention encouraging Momo to get his act together that finally convinces him that something has to change.
To that extent, the film may be a fairly sanitised and nostalgic exploration of the director’s youth, but it’s also an advocation for dancing to one’s own tune which, it argues, has not necessarily become any easier in an age when anyone has access to the tools to become an artist. The punk spirit lives on in those who are prepared to be fully themselves in a culture that can be oppressively conformist and as the film would have it, the greatest legacy of the punk rock era was the sense of community between young people who wanted to build their own utopia which is something that in itself will never die.
Street Kingdom screens as part of this year’s New York Asian Film Festival.
Trailer (English subtitles)
Windows on Worlds 