Hit Me Anyone One More Time (記憶にございません!, Koki Mitani, 2019)

Imagine if you woke up one day and found out you’re actually the national leader of your country and not only that absolutely everyone, including your wife and son, hates you with furious intensity. The hapless protagonist of Koki Mitani’s lowkey political satire Hit Me Anyone One More Time (記憶にございません!, Kioku ni Gozaimasen!) finds himself in just this stressful situation having lost all of his memories since he made the fateful decision to enter politics, rendered infinitely naive as he tries to keep up appearances while internally conflicted by the direction both his life and his country under his stewardship seem to have taken. 

Regarded as the “all-time worst prime minister” in Japanese history, Keisuke Kuroda (Kiichi Nakai) is known as a venal bore, a ghastly misogynist and all-round arsehole. To put it bluntly the very fact that a man like Kuroda could ever have become prime minster in the first place hints at a deep-seated rot in the political order. Aside from his gaffe-prone personality, the chief complaints against his administration are a sales tax hike and welfare cuts both of which target those with the least means, not that Kuroda cares very much about them. His big legacy idea is to build a second Diet building right next to the first Diet building only with spa facilities, illicitly teaming up with a childhood friend turned construction magnate who has been supplying him with hefty “donations”. 

After insulting the electorate during an outdoor balcony speech, Kuroda is hit on the head by a rock thrown by a disgruntled voter. Having lost his memory he regresses to a state of innocence from before he was corrupted by the cutthroat world of Japanese politics, now a nice, polite, slightly mild-mannered man who stuns his staff with his newfound consideration for others including a widely televised moment in which he stops to help up a female reporter who trips while chasing him in the lobby. Few believe he’s really changed, assuming this is some sort of bit intended to help rehabilitate his reputation. His new attitude, however, eventually fosters a new sense of hope for political change among his previously jaded, cynical staff who had long since given up hope of building a better Japan. 

Unsurprisingly, Mitani mostly avoids direct allusions to real world politics but adopts a mildly progressive stance as he sends a virtual innocent into the lion’s den of contemporary politics. It’s not long before Kuroda’s asking sensible questions about policy that wouldn’t go down so well with his (presumably) centre-right party including lowering the sales tax and raising the corporate, taking the time to greet constituents including a contingent of cherry farmers which contributes to his later decision to turn down a tariff-free trade deal for American cherries endangering diplomatic relations with the Japanese-American US President. No longer a ruthless political animal but a rueful middle-aged man who actually cares about ordinary people, Kuroda attempts to change the course Japanese politics largely by taking on the king maker, Tsurumaru (Masao Kusakari), his Chief Cabinet Secretary and the true holder of power in this infinitely corrupt political system. 

All sorts of sordid politics is on display from Kuroda’s womanising and a potential blackmail plot involving his wife’s affair to Tsurumaru’s yakuza ties and an even worse secret he would find personally ruinous should it get out. The ironic Japanese title of the film takes its name from that most universal of political get out of jail free cards, “I do not recall”, Kuroda’s standard response when questioned in the Diet about any of his extremely dodgy dealings. Instructing Kuroda that he should drop this “shallow humanism”, Tsurumaru can offer only the motivation that he wants to “remain in politics for as long as possible” while discovering that his old-school methods of political manipulation may no longer work when those around him find the courage to shed their cynicism and embrace a cleaner, kinder politics. 

Throwing in random gags such as a foreign minister who can’t speak English and has large ears with a pot belly that give him the appearance of Buddha while taking minor potshots as the usually toothless TV media through his series of acerbic anchors only too keen to criticise the PM live on air, Mitani’s comedy is characteristically inoffensive with its mix of slapstick and goodnatured farce but nevertheless makes a subtle plea for decent, compassionate politics which puts the interests of the people first rather than those of the governing elite. 


Hit Me Anyone One More Time streamed as part of this year’s Nippon Connection.

Original trailer (English subtitles)

Shippu Rondo (疾風ロンド, Teruyuki Yoshida , 2016)

Shippu Rondo posterIn this new age of anxiety, can we find the time to laugh about the possible release of a deadly bioweapon illegally developed and then stolen by a disgruntled employee who then finally gets hit by a truck before he can reveal what he did with it? On watching Shippu Rondo (疾風ロンド), your answer may be a predictable no. Adapted from a novel by Keigo Higashino, who is not particularly known for his sense of humour, Shippu Rondo fails to capitalise on the inherent absurdity of its premise, lurching between broad comedy and existential dread before making a late in the game shift towards sentimental family melodrama.

The trouble begins when a disgruntled employee (Shigeyuki Totsugi) fired for his zeal in creating a virulent bioweapon returns and steals its only sample, skiing out into the woods and burying it in a canister which will open automatically should the temperature rise above 10ºC. Hoping for a hefty ransom, he nails a teddybear containing a radio signal to the nearest tree and sends an email asking for cash in return for the location. Unfortunately, he gets hit by a truck before he can give more detailed information but does at least leave a radio transmitter and a photo as a clue.

Hapless widowed researcher Kuribayashi (Hiroshi Abe) is the one charged with bringing the extremely dangerous K-55 back under control, taking his 14-year-old son Shuto (Tatsuomi Hamada) along as a kind of guide/cover in the exciting world of Japanese ski resorts. The problem is, Shippu Rondo can’t decide if it wants to be an absurd black comedy about the potential death of thousands because of self-centred, selectively stupid scientists, a serious crime thriller, or a tearjerking melodrama of emotional repression and filial misconnection.

Thus, after arriving at the ski resort, we largely forget about the urgency surrounding the missing canister of deadly toxins while becoming involved in the various dramas of the otherwise peaceful town. The younger sister of one of the local teens apparently died of flu, leaving a nasty rumour behind that her depressed mother, who runs the local cafe, secretly plots revenge against the youngsters who “spread” the disease. Meanwhile, a man in a funny hat (Tsuyoshi Muro) keeps following Kuribayashi around while he looks for the canister, and the ski patrol guy (Tadayoshi Okura) tries to encourage his friend (Yuko Oshima) and probable love interest that she should fight for her sporting dreams while she wonders if to do so is irresponsible in the wake of mass tragedy like the 2011 earthquake and tsunami.

The irony of the flu proving deadly while the threat of mass death from incurable anthrax looms over the heads of everyone is never lost, though its eventual resolution is underbaked in the extreme. Despite the fact we’re repeatedly told that the lid on the canister is designed to dissolve if the temperature exceeds 10ºC, someone carries it in their pocket for an undetermined amount of time while considering whether to use it to poison all their friends in the hope of cheering someone up and rising in their estimation. It’s a peculiarly Higashino-esque touch in its bizarre mean-spiritedness, but then gives way to broad sentimentality as the beneficiary of the action reminds the would-be mass killer that they shouldn’t wish misfortune on others but rather should double up on happiness for all. Meanwhile, Kuribayashi’s jaded middle-aged cynicism rubs up against his son’s adolescent idealism as he tries to process the fact that his dad works in illegal weapons, has lied to everyone around him by telling them they were looking for an experimental vaccine needed to save a terminally patient, and is planning to brush the whole thing under the carpet to save his own skin.

More gentle comedy than disaster thriller, the crisis eventually works itself out if in continually farcical episodes of swapped vials and villains falling off cliffs, while Kuribayashi’s self-interested boss Togo (Akira Emoto) dances maniacally around his office. Low budget in the extreme, Teruyuki Yoshida’s direction is of the TV special variety, veering between broad comedy and a cynical drama in which the day is saved largely because a teenage boy has entirely lost faith in his feckless father to do the right thing. Still, it all ends in a positive message as the champion snowboarder resolves that the best way to help people might lie in embracing your unique skillset while her bashful friend supports from the sidelines, the older generation remember their responsibility to lead by example, and evil corporate mad scientists are forced to own their casual disregard for public safety.


Original trailer (English subtitles)