Tag: Tomohiro Ichikawa

Laughing Under the Clouds (曇天に笑う, Katsuyuki Motohiro, 2018)

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A cheerful former samurai chooses laughter as the best weapon against existential anxiety in Katsuyuki Motohiro’s big budget adaptation of the manga by Karakara-Kemuri, Laughing Under the Clouds (曇天に笑う, Donten ni Warau). Set amid the chaos of the late Meiji social revolution in which the samurai are no more, Motohiro’s supernatural drama is in some ways uncomfortably reactionary even as it takes as its heroes the defenders of a burgeoning new democracy who, our hero aside, seem to have a tendency towards authoritarianism in their insistence on the kind of order only they can bring. 

Indeed, prisoners brought to “prison island” are coldly informed that “hope, freedom and peace. These are things of the past” because “once you’re in here you’ll never get out”, “you have no rights in here”. Most of the prisoners are here it seems because of their opposition to the new regime including the mysterious Fuma Kotaro former leader of a ninja clan wiped out by imperial forces now held in solitary confinement. The man we first see dragged in is apparently a former samurai struggling to adjust to his loss of privilege and unable to find new ways of living in a world of superficial equality. 

Yet it’s not this destabilisation of the social order which presents the moment of chaos so much as a prophecy that Orochi, a vengeful snake spirit, is due to make his return to Earth and wreak even more havoc. As the legend goes, Orochi brought clouds and rain which provided humanity with a bountiful harvest yet humanity resented him for his ugliness and so Orochi took revenge for their ingratitude by creating chaos. Tenka (Sota Fukushi), a former member of the Nile imperial Wild Hound squad, sees his familial legacy as the duty to combat the vicious cycle of hate through the power of laughter. His decision to leave the Wild Hounds after his parents were murdered by ninjas in order to care for his orphaned brothers is another indication of his essential humanity as is his determination that he will protect not only his town but whoever it is that has been selected as a vessel for Orochi’s return. 

These humanitarian concerns stand in direct contrast with the unfeeling authoritarianism of the Wild Hounds or the innate cruelty of the existence of a place like prison island where those who threaten the new regime are exploited as slave labour. On the other hand, the anger of the disempowered ninja clans is perhaps understandable even if their opposition to the regime, intending to harness the power of Orochi to overthrow the government, is an attempt to hang on to their privilege as a path back to the way things used to be. As such it’s they rather than Orochi who become the central villain though one could also read Orochi as an expression of the intense anxiety of the age especially as it invades the body of a young man himself feeling resentful and confused while looking for a sense of direction in a rapidly changing society. 

Tenka’s opposition is rooted in cheerfulness, in learning to laugh even under the clouds and becoming stronger for it though his otherwise openhearted nature stands in direct contrast with his oft repeated catchphrase “I am the law” as he enforces order in his small provincial town willingly delivering criminals and fugitives to prison island but also making a point of befriending a former ninja, Shirasu (Ren Kiriyama), he rescued after the raid which killed his parents in acknowledging that Shirasu himself was not responsible for their deaths only the chaotic world in which they live. 

Boasting some impressive special effects as Tenka and the forces of order team up for some spiritual magic to send Orochi back where he came from, Laughing Under the Clouds ultimately sells a positive message casting Tenka’s revolution as an ideal world of love, laughter, and happiness while simultaneously ignoring the oppressive qualities of new social model such as its shady prisons, lack of tolerance for opposing political views, and failure to make good on the promises of a classless society. Nevertheless with its fantastical production design and inherent cheerfulness it does perhaps suggest that laughter may be the only real salve for internal darkness.  

Original trailer (no subtitles)

Sin and Evil (罪と悪, Yuki Saito, 2024)

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A man not quite a yakuza and perhaps even what might be termed an ethical gangster tells one of his underlings that it isn’t a sin unless you believe it it is, which might in a sense be true in same way as Socrates says that no one does wrong willingly. Yet the heroes of Sin and Evil (罪と悪, Tsumi to Aku), Yuki Saito’s small-town crime drama, are marked by their guilt while trying to come to terms with traumatic events of 20 years earlier and their mutual decision to cover them up.

Echoing similarly themed films such as Stand By Me, Saito opens with idyllic scenes of the boys riding their bikes with the only hint of darkness offered by a disturbing conversation about an elderly man who is rumoured to be abusing children. However, it seems that Haru is living in a difficult domestic situation following the death of his sister with an abusive father and apparently neglectful mother. His best friend, Akira, is the son of a local policeman while the boys are also friends with a pair of twins, Saku and Naoya, whose family operate a tomato farm. Rounding up the group is Masaki who also seems to be living in difficult circumstances though his backstory is never fully fleshed out as he’s eventually found dead in a local river. Saku jumps to the conclusion that the old man must have abused Masaki, who was known to be friendly with him, and then killed him to keep him quiet. He drags Haru and Akira to the old man’s shack where he attacks and eventually kills him with a shovel. Haru decides to take the blame and torches the place, telling the other two boys to flee the scene.

20 years later, it’s clear that each of them are still marked by what happened that day though Haru (Kengo Kora) appears to have built a good life for himself after serving time in juvenile detention even if the construction company he runs is friendly with local yakuza and gets its contracts through small-town corruption. He also operates a cafe where he employs delinquent boys while secretly using them as thieves but also in a more genuine sense looking after them and concerned for their welfare. His machinations are seen to be key in keeping order, working in tandem with police Inspector Sato (Kippei Shiina) who explains to a more idealistic Akira (Shunsuke Daito) how things are done around here which is essentially keeping ordinary people safe by managing crime rather than punishing or preventing it. The balance is only disrupted by some of Haru’s boys who stupidly steal far too much money from the local yakuza. Haru attempts to protect the young man concerned, but his body soon ends up in the river in exactly the same place as Masaki raising a series of questions about the nature of the earlier crime. 

What the film is trying to do is paint the world in shades of grey while looking for the parts where it’s darkest. It seems it’s not in doubt that the old man abused local children, though Haru and Akira now doubt he killed Masaki raising further questions about their killing of him. As the yakuza underling had said, it’s not a sin unless you think it is and Haru feels that he deserved to die for what he did to other kids so doesn’t feel any remorse for his actions even if he didn’t kill Masaki. But for Akira, the trauma lingers in other ways and he’s disturbed on learning his father may have been involved in covering up their crime and at least complicit in police corruption essentially teaching Sato how things are done in small-town policing. The conclusion Haru comes to is that they are all victims of the town itself, unable to break free of its provincial mores and petty prejudices.

Those would largely be a lingering homophobia and deep shame stemming from suffering sexual abuse as a child. As usual with these kinds of mysteries, the solution lies in the desire to prevent the truth being exposed though in this case the resolution is not entirely convincing when using one killing to cover up another couldn’t help but expose the truth anyway even when attempting to pin it on someone else who can no longer defend themselves. It also sidesteps the themes of small-town corruption and the dark heart of suburbia even as Haru points out that someone should have stepped in to support both himself and Masaki when they could see their families were struggling rather than just closing their curtains and pretending not to notice. The disruption of the friendship, which ought to be the heart of the drama, therefore lacks poignancy muddied by the various overlapping plot lines from the present day yakuza drama to the lost paradise that Haru longs to reclaim despite the otherwise apparently happy life he seems to be living now. Sin, the film seems to say, is in the eye of the beholder along with justice and retribution, and evil maybe just the same or merely invisible to those who choose not to see it.

Sin and Evil screened as part of this year’s Camera Japan.


International trailer (English subtitles)

Brave: Gunjo Senki (ブレイブ -群青戦記-, Katsuyuki Motohiro, 2021)

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A young man with a total lack of confidence in himself begins discover his inner strength after being sent back to the Sengoku era in Katsuyuki Motohiro’s timeslip drama adapted from the manga by Masaki Kasahara, Brave: Gunjo Senki (ブレイブ -群青戦記-). Fighting a battle for the future, the kids finds themselves at a moment of historical change and caught between the titanic forces of clashing armies but paradoxically discover that they want the same thing, something the kids have always taken for granted, an age of peace in which all are free to live together happily. 

For all those reasons it’s a just as well that Aoi (Mackenyu), a diffident member of the archery club, is a keen history buff even if he declares himself uninterested in winning competitions or becoming a champion. When warriors in 16th century armour begin assaulting the school, he’s well placed to guess what might be going on inferring from some of the names involved that they must have been thrown back to the year 1560 which was something of a turning point in Japanese history marked by the battle of Okehazama in which the outnumbered forces of Oda Nobunaga (Kenichi Matsuyama) scored a significant victory against those of Imagawa Yoshimoto setting Nobunaga on a path towards the unification of Japan. 

Though armed with foreknowledge, the kids are obviously ill-equipped to cope with the demands of life in the Sengoku era having no combat experience yet this institution happens to be one of the most prominent sporting schools in the nation boasting a host of national champions all of whom discover that their athletic skills can easily be repurposed for warfare from the archers and kendo enthusiasts to the baseball and American football players while those in the various science clubs set about investigating how they got here and how they might get back. 

Despite being thrust into a leadership role after impressing warlord Motoyasu (Haruma Miura) who will one day become Tokugawa Ieyasu and oust Nobunaga as ruler of a unified Japan, Aoi remains diffident and fearful unable to fire his bow often walking away from the fight despite his friends’ encouragement. His problem, as is repeatedly pointed out, is that he has no self-confidence and cannot believe in himself sufficiently to act when the occasion calls. Yet through his gentle mentoring at the hands of Motoyasu, he begins to come into his own as a Sengoku era strategist realising that he has something to spur him on in the desire to protect those close to him.

This is not, however, a wholly positive thing. Despite introducing Aoi’s childhood friend Haruka (Hirona Yamazaki) as a talented archer who is much more willing to step up to the fight, the film quickly relegates her to the role of damsel in distress as it does the majority of female students many of whom are also top athletes with useful skills while the assault squad venturing to rescue students taken hostage by evil retainer Yanada Matsuna is, aside from Haruka, exclusively male. Conversely, the guys are given an opportunity to express their fear and sadness each thinking of their mothers as they prepare to risk their lives to save their friends. 

For Aoi, his friends become the light that show him the way while he remains preoccupied with history realising that nefarious forces are trying to manipulate it so that their age of peace will never arrive and Japan will exist in a state of darkness for all eternity. Though often depicted as cruel dictator this Nobunaga seems to want end the darkness by bringing about an age of peace through the unification of Japan taking solace in the idea that these strange people in their weird castle wearing bizarre clothes are from an age in which war is a distant memory meaning at least that his dream came to pass. At heart, it’s a battle between an emo teen who wants to paint the world with the darkness inside him, and a diffident young man turning away from hate and violence while finding strength in the presence and support of his friends. Boasting some impressive effects and high octane battle sequences imbued with a quirky humour as the kids use their sport skills, kicking footballs armed with bombs or throwing fiery baseballs at the confused retainers, Brave: Gunjo Senki sees its diffident hero not only taking charge of his personal destiny but the national in believing that the best way to support his friends is to make sure the world of peace they’ve always enjoyed will again come to pass. 

Original trailer (no subtitles)