Tag: Yasumi Hara

Hiroshima (ひろしま, Hideo Sekigawa, 1953)

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During the post-war occupation of Japan which lasted until 1952, the censorship regulations which replaced those of the militarist era perhaps ironically made it more or less impossible to criticise the US presence or depict the extent of wartime devastation lest it raise hostility towards American forces or reinforce a feeling of victimisation. For this reason, images of the atomic bombings were tightly controlled and the events rarely referenced in mainstream media, Hiroshi Shimizu’s Children of the Beehive being a notable if brief exception. Once the occupation was over, however, many assumed it would become easier to broach such taboo subjects. 

Hiroshima native Kaneto Shindo’s comparatively better known Children of Hiroshima, inspired by the book Children of the A Bomb: Testament of the Boys and Girls of Hiroshima, was released in 1952 shortly after the censorship regulations were lifted and stars his later wife Nobuko Otowa as a teacher who returns to Hiroshima to visit the graves of her parents killed in the atomic bombing and thereafter several of the children from a nursery school she once taught at who have survived but continue to suffer in various ways due to their experiences. Despite Shindo’s well known leftist credentials, many including the Japan Teachers’ Union who apparently owned the rights to the book though there is some dispute as to their involvement in the production, were disappointed with the film which they felt to be an overly sentimental studio melodrama that was ultimately unhelpful in supporting the anti-war political movement or accurately representing the hibakusha community. 

In response, the JTU commissioned a second version in order to better reflect their aims and ideals. Long unseen in either Japan or internationally prior to its recent restoration, Hideo Sekigawa’s Hiroshima (ひろしま) adopts a much more strident docudrama approach while, like Children of Hiroshima, maintaining a focus on the plight of children during the bombing and beyond though it seems somehow unlikely that teachers and parents would be wholeheartedly enthusiastic about showing such a deliberately harrowing piece to a sensitive younger audience. One criticism of Shindo’s film had been that he’d dodged dealing with the bombing itself by concerning himself only with the present-day aftermath. Sekigawa meanwhile focuses directly on the traumatic instant of the attack, utilising expressionistic techniques to recreate the living hell to which the city was reduced literally in flash. 

It’s clear however that the normal of that day was already far from normal. Rather than go about their studies, school children are working hard for the war effort helping to clear extensive bomb damage. A teacher and a class of school girls salvaging roof tiles from a ruined building pause to look at the sky. They can hear bombers but no sirens and it’s in that moment of stillness that everything changes. The world as it was implodes and is left in total collapse. Survivors search desperately for loved ones while stumbling through an unfamiliar landscape filled with crying children, charred bodies, rubble and fire. “This is hell” an injured man groans after managing to make his way to the field hospital, “hell”. 

Sekigawa bookends his tale with a contemporary framing sequence in which an idealistic teacher tries to instil compassionate values in his students some of whom are survivors of the bomb and still living with its effects including one suffering with radiation-related leukaemia who becomes very upset on listening to a radio lesson recounting the morning of the bombing from the point of view of the pilot flying the plane. Another of the students later comes to her defence, taking some of the others to task and lamenting that the suffering of those affected by the A Bomb is not taken seriously while victims still undergo a degree of social stigma even if they have no visible wounds. He is also very worried about his friend, Endo (Yoshi Kato), who later appears in the flashback to the aftermath of the bombing and has apparently gone off the rails, working in a cabaret bar and addicted to pachinko after losing his entire family. 

It’s through Endo that Sekigawa dramatises many of the secondary effects of the bombing in that he was not physically injured but is consumed by a sense of hopeless anxiety, intensely concerned about the prospect of another war and unable to envisage a successful future for himself in a world in which such horror can occur seemingly at random. It’s he who first introduces us to the parasitical disaster tourism that generates a grim trade in A-Bomb “souvenirs” as he passes a stall selling fake skulls as a child and then later attempts to sell actual human remains with inspirational stickers plastered on the top. The “better” future they have imagined for him is however in itself problematic, harking back to the traditional post-war solution of a factory job which directs aligns him with the nation’s push towards a capitalistic society, but is then undercut when he quits not because he is bored or lazy but because he discovered the factory was being used to produce artillery shells and he felt he could have nothing to do with it. 

Endo is also among a group of post-war street kids who learn to say the word “hungry” without knowing what it means to get bread and chocolate from passing Americans. A later more direct speech has them make a formal accusation that the Americans are responsible for the deaths of their parents and therefore bear a responsibility towards them which they should immediately repay with food. Some, including Shochiku who were originally set to distribute but later declined, described the film as overly anti-American, but Hiroshima largely refrains from mentioning the Americans other than a suggestion that the dropping of the bomb was itself a racist act in which they used the Japanese people as guinea pigs to test their new weapon, and focuses on the failure of the militarist authorities to respond in an appropriate fashion. We see a soldier read out a proclamation telling a ragged queue of survivors queuing up for food that the situation is “not unusual” in time of war and they should all return to their jobs despite the fact that there are no longer any buildings in which to work. Meanwhile, militarists talk of using the disaster to foment the war effort by marshalling hate and resentment towards the enemy while commanders refuse to take scientific advice that tells them Hiroshima may be uninhabitable for the next 70 years, obsessed only with continuing the war at all costs ironically insisting that their “fervent will” which “burns as brightly as a million stars” will bring them an assured victory.  

In the face of a second bombing, however, they are forced to accept that the war cannot continue, many of the victims left perplexed and defeated that despite their suffering the government has unconditionally surrendered and seemingly abandoned them. An abnegation of responsibility is also suggested by the presence of the street kids abandoned by their society and left to fend for themselves though Endo is eventually taken into a progressive care home from which he and other boys make numerous attempts to escape, in his case in the hope that he can find the sister from whom he became separated. Sekigawa does not make suggestions for the future, merely depict the difficult post-war reality while arguing for greater compassion in the contemporary era, one bomb survivor describing her despair in the knowledge that her disability is a barrier to marriage while finding work that can be done with her physical limitations is also difficult as is accessing government support. Sekigawa too may give in to a particular kind of sentimentality in the closing moments but it is indeed undoubtedly effective as a reminder of the human cost of war and our collective responsibility to ensure that it never happens again.

The Angry Street (怒りの街, Mikio Naruse, 1950)

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As its opening text explains, Mikio Naruse’s The Angry Street (怒りの街, Ikari no Machi) takes place in a world in which a love of justice and faith in others has been crushed under foot. That might equally apply to any other of Naruse’s films and well enough reflects his generalised philosophy that the world in which we live betrays us, but in this case it’s more than usually true as he adopts the trappings of film noir to consider the series of reversals that have taken place amid post-war chaos chief among them class and gender. 

Sociopathic student Shigetaka’s (Yasumi Hara) primary motivation is to earn money for his family, once upper middle-class but now fallen on hard times, but he’s also engaged in an act of class warfare taking revenge on the “nouveau riche” who he feels have usurped his class privilege. His chief weapon is his good looks along with his seductive charm which he puts to full use on the dance floor flirting with naive young women to whom he sells sob stories of his poverty to extort money out of them. He and his friend Mori (Jukichi Uno) have an “agreement” that what they’re doing’s alright as long as they only take advantage of the women financially rather than sexually though at this point Shigetaka seems to have little interest in that anyway insisting that women are just business to him so he little cares for their feelings. 

Their sense of class resentment is rammed home by their mocking of their classmates who have to do “humiliating” jobs to support themselves such as selling lottery tickets in the streets. Trying to get them to attend a meeting about student employment, their classmates describe them as “privileged” suggesting they may feel it’s not their problem because they don’t need to work little knowing that each of them is impoverished and dependent on exploiting women for their income.

There is however also a gender reversal in play as Shigetaka misogynistically takes on a feminised role, playing the gold digger in attempting to manipulate women, who are now in a position of power, into supporting him financially. He even tells some of them that he’s being forced into a financial marriage by his “old-fashioned” family, playing the damsel in distress and hoping that his target will swoop in to rescue him. When one of the women writes to his home after he abandons her, his grandmother is scandalised by the idea that he might have formed an attachment to a woman to whom he had not been formally introduced but equally that he might have been frequenting “effeminate” places such as dance halls. Unmanliness is something he’s accused of several times but also the tool which he uses to seduce women who are taken in by his feminine features and graceful dancing. Closely echoing Alfred Hitchcock’s Rope, it’s near impossible not to read both Shigetaka and Mori as queer coded and the relationship between them filled with homoerotic tension as Mori looks on in jealously while Shigetaka goes about his business seducing naive young women they’ll swindle together. 

A point of crisis arrives when the pair bite off more than they can chew in getting involved with a woman who is slightly older and sophisticated in her dealings with men. An independent woman, Tagami (Yuriko Hamada) claims to be a dentist but actually makes her money through smuggling and the black market if drawing her line at drugs. Shigetaka thinks he’s using her, but Mori warns him she’s really the one in charge and playing him at his own game planning to drop him once she’s got what she wanted which in this case is his youthful flesh (realistically the only thing he could possibly offer her). Tagami draws him into a wider and more dangerous world of crime than he’s equipped to deal with just as Mori receives twin blows that break the spell and encourage him to want out of Shigetaka’s schemes firstly in discovering that one of their targets, Kimiko (Mayuri Mokusho), is the sweetheart of an old war buddy, and then into running into Shigetaka’s earnest sister Masako (Setsuko Wakayama) who is the film’s de facto moral authority pulling him away from Shigetaka’s dark machinations back towards a more conventional morality. 

In a series of flashbacks, he remembers more innocent times before the war when he too sold tickets on the street and worked in a shop washing windows while going on innocent dates with Masako. The implication is that it’s his wartime service along with the world he came back to that have filled him with nihilistic cynicism while he later says that he indulges in Shigetaka’s schemes as a means of staying close to him and earning his favour. But Shigetaka is already far too corrupt, filled with class resentment over his lost privilege along with a deep-seated misogyny as a reflection of his sense of emasculation in this new world in which young women wield significant economic power. Kimiko in particular is brash and insensitive even aside from her naivety remarking on the piles of money that turn up at her home every day before virtually throwing cash at Shigetaka with seemingly no thought as to how that might make him feel even if he weren’t conning her in offending his pride and masculinity. 

Mori wonders how he can save himself if Shigetaka remains so irredeemable and is instructed by Masako that they must work together and live honestly though even she hangs on to her ideas of social class scandalised by the revelation that her mother too has begun selling things in the street, in her case knitted socks which is a fairly labour intensive activity for an incredibly small profit margin. Echoing film noir, Naruse opens and closes with scenes of the present day city teeming with life yet in a way that seems more ominous than exuberant even in the myriad dance halls where youngsters come to look for love but soon find themselves lost amid the contradictions and confusions of a rapidly changing city.

The Fellows Who Ate the Elephant (象を喰つた連中, Kozaburo Yoshimura, 1947)

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The Japan of 1947 was one still very much caught up in post-war chaos. In the cities, most particularly, hunger was a major problem. The Fellows Who Ate the Elephant (象を喰つた連中, Zo wo Kutta Renchu) may have a title that strongly recalls the screwball comedies of the ’30s, but is less slapstick comedy than dark satire in its central premise that a bunch of idiot mad scientists might actually eat a deceased elephant in extreme dedication to “mottainai” waste not want not philosophy coupled with the justification that all is permissible in the name of science. 

The elephant is, apparently, the last in Japan and was the childhood friend of zookeeper Yamashita (Chishu Ryu) who brought him all the way over the mountains from Thailand after the war. “Shiro-chan” is very ill with some kind of elephant cold but for some reason the doctors the zoo uses aren’t vets specialising in large, exotic animals but virologists. While they stand around apparently mystified, Yamashita enquires after the professor he usually deals with but is told that, despite being over 60 years of age, he’s currently away on honeymoon after marrying a very young and extremely beautiful woman. Sadly, Shiro doesn’t make it. The professor is saddened to learn of the death from the paper and wonders if it might have been a virus similar to one which attacks hoofed animals like donkeys and horses but is not usually found in Japan (Shiro is Thai after all). 

This is relevant because the disease is fatal and contagious but does not usually pass to humans and is only a risk if you come into direct contact with it, like say if you eat meat from an infected animal. No one would eat an elephant though so there’s nothing to worry about. Enter extremely unpleasant mad scientist Wada (Shinichi Himori) who decides that science dictates they must find out if it’s sanitary to eat elephant meat. Though Wada ropes in fellow scientist Baba (Yasumi Hara) with his scientific justifications, he tricks the other two into eating some without telling them what it is. Unforgivably, he even gives some to Yamashita and seems to get a kick out of feeding him his own childhood friend when Yamashita had only come on instruction from his boss to apologise for being over emotional the day before. Yamashita leaves feeling sick after Wada tells him what he was eating for additional effect, but his wife (Chiyoko Fumiya) later remembers a story he told her about fellow elephant drivers in Thailand who ate some elephant meat from an infected animal and were dead within 30 hours. 

After hearing Yamashita’s concerns, the scientists begin investigating and indeed find cases of people dying after eating contaminated meat. The only cure is the serum they use to treat the horse infection the professor mentioned, but it seems nowhere has any in stock (the disease is rare in Japan after all). The idiot scientists come to the conclusion they will die in exactly 30 hours’ time and decide to put their affairs in order rather than consult an actual doctor who might be able to help them. This mostly involves trying to explain their foolishness to their wives. Watanabe (Takashi Kanda) is a father of three with another child on the way. He regrets that he hasn’t been present enough in his family life and has failed to adequately provide for his wife who he will shortly be leaving to raise four children alone. Nomura (Toru Abe) meanwhile is an uxorious newlywed constantly worried that his wife (Kyoko Asagiri), who already dislikes Wada for being a bad influence on her husband, will not be able to bear the anxiety of knowing he may soon die. Baba who has only his parents retreats back to his old country home to apologise for not being a better son. 

Wada, meanwhile, moans about everyone else’s understandable desires to comfort their wives and families. He criticises Yamashita for trying to excuse himself because he’d rather go home and have dinner with his wife, while mocking Nomura for being a henpecked husband. This might partly be because he has no wife or family of his own and is currently chasing after Tomie (Akemi Sora), a maid at his boarding house, who seems pretty indifferent or even hostile to his attentions, joking that she’d celebrate on hearing of his demise. She eventually agrees to go out with him, but only if he really dies. Other than the wives, no-one quite believes the guys’ bizarre story. Baba’s parents even try to stop him going back to Tokyo when a potential cure is located in case he goes “even more mad”. 

In these trying times, the idea that someone might try to eat a dead elephant is perhaps not quite as ridiculous as it might first seem. The act of trying it, however, also plays into the constant critiques of bad or irresponsible science which are a mainstay of films in the immediate post-war era. Wada knows that he can and so he doesn’t bother to think about if he should, spinning tales of Jenner and Koch as if they’re about to make some grand lifesaving discovery. His brush with death does at least begin to humble him as he finally accepts responsibility for the unexpected consequences of his cruel prank, realising that as a man with no wife or family it should perhaps be him if anyone is going to have to make a sacrifice. Finally someone manages to get through to the professor on the phone who tells them they’re all very stupid and haven’t thought of something perfectly obvious that makes all their panicking completely pointless, but at least the surreal 30-hour near death experience has brought out a warmer side of Wada and given a few irresponsible scientists a quick lesson in social responsibility. 

Street of Violence: The Pen Never Lies (ペン偽らず　暴力の街, Satsuo Yamamoto, 1950)

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vlcsnap-2020-01-16-00h05m26s354The immediate post-war era was one marked by fear and anxiety. The world had turned upside down, food was scarce, and desperation had provoked a widespread moral decline which rendered compassion a luxury many thought they could ill afford. Yet, in hitting rock bottom there was also the opportunity to rebuild the world better than it had been before. Street of Violence: The Pen Never Lies (ペン偽らず　暴力の街, Pen Itsuwarazu Boryoku no Machi), is one of many pro-democracy films arriving in the wake of Japan’s new constitution and makes an unlikely hero of the local newspaperman as the sole means of speaking truth to power in the fierce belief that the people have a right to know.

Tojo, a small town Northwest of Tokyo, was once the centre of the silk trade but as the industry declined, it gradually became home to gangs and a hub for wartime black market shenanigans. The sad truth is that the growing nouveau riche middle-classes profiting from post-war shadiness have more or less got the town sewn up. The corrupt police force is in cahoots with the gangsters who call themselves a “police support organisation” and make a point of wining and dining the local police chief, while also making sure the local paper is firmly in their pocket. The trouble starts when rookie reporter Kita (Yasumi Hara) is invited to a policeman’s ball and figures out the whole thing is sponsored by the silk traders’ union, which he thinks is not quite right. He takes what he’s learned back to his editor and is warned off the story but publishes something anyway, quickly becoming a target for prominent “politician” Onishi (Masao Mishima).

Street of Violence opens with onscreen text taken from the press code which emphasises that mass media has a duty to preserve the truth. Kita’s paper had been in league with the police and the gangsters enabling the atmosphere of casual violence which is gradually consuming the town. Kita, a new recruit, is not yet inured to the way things are and immediately thinks his duty is to blow a whistle, most obviously on the corrupt police force and judiciary. He is only allowed to do so because the previous editor stepped down and a similarly idealistic older gentleman (Takashi Shimura) from out of town has taken over. He decides to fight back, standing up to the crypto-fascist goons by continuing to publish the truth about the links between the police, black market silk traders, gangsters, and the rest of the local press who eventually gain the courage to join him.

Onishi continues to masquerade as a “legitimate businessman” and “respectable politician” claiming that he’s “striving for democracy” to help the “downtrodden”, but is also responsible for directly targeting Kita’s mother and sister in an attempt to intimidate him. The editor assigns another reporter, Kawasaki (Ryo Ikebe), to keep Kita safe and starts trying to find locals who will consent to be interviewed about gang intimidation while Kita’s friends from the Youth Association generate a kind of resistance movement holding protests and handing out flyers condemning the atmosphere of violence which has ordinary citizens turning off their lights and avoiding going out after dark to protect themselves from thuggery.

The silent cause of all this strife is of course post-war privation which has made the blackmarket the only means of survival for those otherwise starving but has also given free rein to selfish immorality. The Onishis of the world, the spineless police chief, and the cynical local press, have all abnegated their human responsibilities in wilfully taking advantage of a bad situation to further their own cause. When the press chooses not to turn a blind eye to entrenched corruption, it raises a flag that ordinary people can follow. Too intimidated to speak out, the townspeople had been living in fear but post-war youth has the courage to say no and demand a better future. A mass rally crying out “democracy” and insisting on an end to the cronyism and the corrupt systems of pre-war feudalism produces a people power revolution that can’t be ignored, forcing Onishi into submission, and a clean out of corrupt law enforcement. But, the earnest voice over reminds us, the victory is only partial – violence still exists and will rise again when it thinks no one’s looking. The press, most of all, cannot afford to look away if “democracy” is to be maintained.

Poem (哥, Akio Jissoji, 1972)

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Poem dvd coverThere might be a temptation to view Akio Jissoji’s “Buddhist Trilogy” as an intensely Japanese affair given its obvious preoccupation with Eastern religious thought and background dialogue with the political confusion of the day, but like fellow New Wave outsider Kiju Yoshida, Jissoji had studied French literature and there is something classically European about his nihilistic ennui in the midst of a decaying social order. Poem (哥, Uta), the trilogy’s final instalment, bears this out most of all as the servant boy of a noble house, secretly its spiritual heir, alone attempts to resist the march of time to save the natural essence of a culture about to eclipse itself in consumerist emptiness.

Jun (Saburo Shinoda), a strange young man, is a servant/legal clerk to a lawyer, Yasushi (Shin Kishida), who is the oldest son of the Moriyama family. Though he has inherited stewardship of the house and mountains, Yasushi and his wife Natsuko (Eiko Yanami) long to break free of its traditionalist constraints by ripping it apart and replacing tatami mat comfort with Western modernity. They can’t do that, however, because old Moriyama (Kanjuro Arashi), Yasushi’s father, is still alive and Yasushi doesn’t particularly want to have to talk to him. Meanwhile, the spacious mansion is also shared by a legal student, Wada (Ryo Tamura), who is kind of interning with Yasushi while repeatedly failing the bar exam, and the family’s maid Fujino (Hiroko Sakurai).   

Unlike Yasushi, Jun sees his life’s purpose as serving the Moriyama family. Intensely worried that a fire may engulf this fine house built with only the best Japanese cedar, Jun gets up every night at midnight and patrols with an electric torch, looking for loose sparks. One night he finds some, though not the kind he was expecting, on accidentally witnessing Wada make love to Fujino. Apparently uninterested, Jun looks it over and moves on while the lady of the house, Natsuko, starved of affection by her impotent husband, finds herself stirred by such unexpected eroticism.

Yasushi’s physical impotence is perhaps merely a manifestation emasculated powerlessness as the oldest son of a noble house who, nevertheless, wields no real power and is entirely unable to make decisions for himself. Yet his big case at work is thrown into confusion when his social climbing client suddenly tries to have his partner, Arita (Haruhiko Okamura), removed days before the court hearing because it might look nicer to have someone of Moriyama’s standing representing him. Even so, Yasushi is so clueless with the modern world that he needs Jun, a calligraphy enthusiast and advocate for the old, to operate the photocopier because he doesn’t know how (and neither does Wada). Only Jun, in another contradiction, insists on working to rule and leaving at 5pm because his “main job” is protecting the house and serving the Moriyama family, not Yasushi. Jun allows himself to be seduced by Natusko on the grounds that if she does not receive sexual satisfaction inside the house she will need to look for it outside which could bring shame on the Moriyama name. Finding out his wife is sleeping with another man, the weird servant boy no less, Yasushi doesn’t even care (besides being mildly turned on), as long as she doesn’t do anything which might arouse “rumours”.

The dirty secret that neither Yasushi or his debauched brother Toru (Eishin Tono) know is that Jun, whose name means “pure”, is their illegitimate half-brother that their father had with a maid. As we later discover, old Moriyama plans to divide his estate not in two but three, believing that it hardly matters anyway because division, in a break with the system of traditional succession by the oldest son, will be the end of the Moriyama family. He may well have a point as neither Yasushi, who eventually abandons the house to Toru and escapes to Kyoto, or his brother are interested in legacy. Once Moriyama passes, they plan to sell the entire plot, mountains and trees and all, to developers. In fact, the house already technically belongs to someone else because as soon as he moved in Toru started taking out exorbitant loans to fund his wastrel playboy lifestyle and has already figured out the jig is up and they’re all broke. Only Jun, who hears the voice of the mountains as if it were the voice of existence itself, is desperate to save the family name though he is at this point almost beyond saving himself.

Looking for the “absolute” in tombstones, Jun is told that only darkness exists inside. Yet he is certain that as long as form survives, content can return. He sees the Moriyamas’ forests as the essence of an older Japan and their untouched natural beauty the rock on which their souls are anchored. Yet his half-brothers oppose him. For them, Japan, even the world, is already ruined and nothing worth protecting remains. Existence itself is nothing more than a dream, and suicide no different. They no longer feel they can live “in such an age”.

Yet Jun, his father’s spiritual heir even if he doesn’t know it, keeps reaching, perhaps not quite hoping but demanding even in his powerlessness which may, in a sense result in a kind of transcendence in its purity. Unlike the ambiguously hopeful ending of This Transient Life, or the urgent ominousness of that of Mandala, Poem ends in defeat and futility, suggesting that time cannot be stopped or progress arrested even by those who seek the eternity of enlightenment. And so Jissoji brings us full circle by showing us a world in entropy unsalvageable in the cruelty of its contradictions.

Poem is the third of four films included in Arrow’s Akio Jissoji: The Buddhist Trilogy box set which also features an introduction and selected scene commentaries by scholar of the Japanese New Wave David Desser plus a 60-page booklet with new writing by Tom Mes and Anton Bitel.

Original trailer (English subtitles)

Mandala (曼陀羅, Akio Jissoji, 1971)

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Mandala jissoji poster 2Politically speaking, the Japan of 1971 was trapped in a kind of limbo. The student movement had been dealt a serious blow with widespread supressionary measures in the run-up to the renewal of the ANPO treaty in 1970, which was finally signed despite opposition. It was not, however, yet dead and would stumble on, losing its way, until the climactic events of Asama-Sanso in 1972. Following hot on the heels of his radical This Transient Life, Akio Jissoji’s second film for ATG Mandala (曼陀羅) finds him exploring just this conflict as two young men look for “utopia” in an escape from the tyranny of time.

Kyoto uni students Shinichi (Koji Shimizu) and Hiroshi (Ryo Tamura) have taken their girlfriends to a strange little beachside inn for a spot of wife swapping. Where Shinichi’s girlfriend Yukiko (Akiko Mori) is only too happy to oblige her boyfriend’s whims, Hiroshi’s squeeze Yasuko (Ryo Tamura) goes along with it but instantly regrets her decision. Meanwhile, unbeknownst to them, the couples are being spied on by weird ultra-Buddhist cult leader Maki (Shin Kishida) who comes to the conclusion that Shinichi and Yukiko are good candidates to add to their commune which is built around the concepts of agriculture and eroticism. Maki’s violent recruitment method is knocking out the guys and then subduing the women so they can be raped by cult members and thereby inducted.

Maki’s strange philosophy which posits a new “utopian” future born of a return to a more primitive way of life in which love does not exist and sex is a free and natural act whose only purpose is reproduction, wins an acolyte of Shinichi because of its key offering – the ability to stall time. Always looking for a way to be dead yet alive, Shinichi is obsessed with the idea of stillness. Movement is the image of time passing. Coming to and finding the comatose, naked body of Yukiko lying on the beach after being raped by Maki’s minions, Shinichi cannot resist the urge to have sex with her “lifeless” body (which she apparently consents to, playing dead even after regaining consciousness part way through). Yukiko too confesses her own fantasy of being ravished as a corpse, a body outside of conscious time.

Shinichi, proclaiming he no longer believes in the future or in that a classless anti-State will ever arise, leaves the struggle and joins Maki’s atavistic utopia to which only those who “deny time and history” are permitted. Hiroshi, meanwhile, berates him for betraying the “continuous revolution” while he himself is on the run having left university after a disagreement with his Trotskyist protest group. The two men are each fleeing the centre and heading in different directions if perhaps ultimately bound for a similar destination. A hyper individualist, Hiroshi declares that there is no such thing as mankind, only a confluence of individuals, with the exception perhaps of those who have dedicated themselves to religion. He doesn’t want the child that Yasuko is carrying, not because he fears it may be Shinichi’s, but because he does not see the point in contributing to “the multiplication of mankind”, which is a key tenet of of Maki’s primitivist manifesto.

Unlike Hiroshi, Yasuko is not seeking revolution but conventionality. She wants the baby, and perhaps a marriage. At the end of her tether, having suffered horribly at the hands of Maki’s minions, she draws a small cottage with a friendly bird flying above as if to symbolise the simple dream that has been destroyed by the cruelty of men. Too late, Hiroshi realises that his irritation with Yasuko was simply a reaction against the shadow of himself he saw reflected in her, and he cannot forgive those who have caused her harm.

Harm there is plenty. Maki’s vile philosophy, overseen by his shaman wife (Yoshihiro Wakabayashi), supposedly the embodiment of many gods, strips women of their right to autonomy, insisting that “love” is an unwelcome modern sophistication which should be replaced by “benevolence” in an egalitarian affection for all mankind. In “ancient times”, he says, a woman would willingly submit to a man and, therefore, there was no such thing as “rape”. “A woman’s silence and resistance make a man a rapist” he tells his minions while Shinichi is busy raping the latest kidnap victim in a room equipped with CCTV for Maki to watch from behind a screen. His tenet of fecundity, both in terms of agriculture and human reproduction, comes at the cost of basic human decency and reduces the role of women to mere vessels for men’s desires.

Throughout the history of Japanese cinema, “love” has indeed been the destabilising, individualising force which threatens the social fabric, but for Maki it serves as a palpable evil. Like Hiroshi, he too believes that men exist as individuals, but also that “benevolence” could raise them to become a “community”. Hiroshi wants to live in a world of revolution, free of charisma and religion, but Shinichi seems to have found peace in atavistic simplicity. Faced with the choice, Hiroshi again chooses individualism, declaring that he would rather die alone than go mad along with everyone else. Yet his frustration may perhaps take him to a dark and unexpected place that sees him pick up a sword and a copy of the Manyoshu as if on some sort of nationalistic mission of revenge against an intransigent government and society. Revolutions fail, and then they start again. Hiroshi has perhaps picked a side, even if that side is merely opposition, but what he’s chosen is movement, action, maybe even life however fleeting, over the cold meaninglessness of Maki’s grand plan for a primitivist utopia.

Mandala is the second of four films included in Arrow’s Akio Jissoji: The Buddhist Trilogy box set which also features an introduction and selected scene commentaries by scholar of the Japanese New Wave David Desser plus a 60-page booklet with new writing by Tom Mes and Anton Bitel.

Original trailer (English subtitles, NSFW)

The Girl I Loved (わが恋せし乙女, Keisuke Kinoshita, 1946)

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The Girl I loved DVD coverThe post-war era, as confusing and chaotic as it was, offered several choices, among them that to change to course, choose to create a better, kinder world than the one which had led to so much suffering. As always, however, the human temptation is to choose the opposite and allow anger and resentment to make everything even worse than it had been before. Occasionally censured for his sentimentality, Keisuke Kinoshita was perhaps among the more defiantly positive of the post-war humanists whose fierce love human goodness knew no bounds. In The Girl I Loved (わが恋せし乙女, Waga Koiseshi Otome) he puts his ideas to the ultimate test as a young man recently returned from the war must learn to cope with various kinds of disappointment but eventually resolves to take solace in other people’s happiness even at the cost of his own.

The tale begins some years earlier when a baby girl is abandoned in front of the Asama Ranch, her mother apparently having taken her own life by jumping from a nearby cliff. The Asamas are good people and moved by the letter they find with the baby so decide to take her in. Yoshiko (Kuniko Igawa) is raised alongside older brother Jingo (Yasumi Hara) as an adopted sister always aware of her origins but very much a full member of the family.

Flash forward to the present day and Yoshiko has become a beautiful young woman. Jingo has returned from five years of war in perfect physical health, keen to resume his idyllic farm life in the beautiful Japanese countryside. The fact is that Jingo has long been in love with Yoshiko, though the situation is understandably complicated seeing as they were raised as siblings even if there is no blood relation between them. Somehow it seems a perfectly natural idea that the pair will marry and many assume this will be the case. Jingo, however, remains somewhat reticent and afraid to voice his feelings. It seems Yoshiko has something to tell him too and so he dares to hope as they both agree to share their respective secrets after the harvest festival.

At the festival, however, Jingo gets a shock. He sees the way Yoshiko looks at another man and realises that what she wanted to tell him was probably that she had fallen in love with someone else. Shaken and confused, Jingo bites his tongue. He knows to say anything now would only create more pain and suffering for everyone while he alone will suffer if he decides to stay quiet.

Nevertheless the temptation is there. Mr. Noda (Junji Soneda), Yoshiko’s intended, is a quiet man, an intellectual who returned from the war early thanks to injury and still walks with a cane. Yoshiko has been fearful that her family may object to the marriage on the grounds of Noda’s disability – something he has also been aware of and warned her about in explaining the potential hardship she may have to endure as his wife seeing as he is also merely a poor schoolteacher. Jingo could try to refuse her permission to marry, try to force her to marry him instead, or refuse to give his blessing for her to marry anyone at all, but if he did that all he’d be doing is condemning both of them to eternal misery. It would be understandable if he began to resent Noda and most particularly his disability which brought him home from the war early and enabled him to be here to fall in love with Yoshiko while Jingo was away and dreaming of home, but then it could so easily have been the other way around.

In the end, Jingo’s love is selfless and good. What he wants is for Yoshiko to be happy and if being with Noda is what that means then Jingo will not stand in her way no matter how much it may hurt him to stand aside. After all, as Noda says, aren’t they both lucky to be alive in this beautiful place? Having suffered so much, the two men understand how precious life is and know it’s far too short for pettiness or resentment. A quiet, gentle tale The Girl I Loved is a sad story of youthful disappointment in love, but it’s also a kind of melancholy manifesto for the new post-war world built on compassion and understanding as a young man decides to take the noble path in accepting that the girl he loved loves someone else and that’s sad but it’s also happy and if you can learn to rejoice in someone else’s happiness even in the midst of your own pain then perhaps everything will be alright after all.

Titles and opening scene (no subtitles)

The Living Magoroku 生きてゐる孫六 (Keisuke Kinoshita, 1943)

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The Living Magoroku, the second film in Criterion’s Kinoshita and World War II box set, is the director’s second feature also made 1943 shortly after Port of Flowers. Like his previous film, it was also made under the severe censorship requirements in place during the war but this time around the propaganda is far more pronounced though still fairly mild given the time period. That said, The Living Magoroku is still full of the wit and warmth characteristic of Kinoshita’s filmmaking even if it is forced to up its jingoistic content.

Incongruously beginning with a samurai battle taking place in 1573, the action quickly shifts to the same battleground where a group of raw recruits are being put through their paces before being sent off to die nobly for the Emperor in distant lands. Berating them for their lack of respect, the instructor reminds them that each recruit is descended from the very men who died on fields like these whose graves they should still be tending. This small rural town still goes by the old ways. There may be no real samurais anymore but each and every decision has to go through the local matriarch, Mrs Onagi. Actually, Mrs Onagi has a son who should rightfully be in charge but he’s such a neurotic drip who thinks he’s dying of lung disease that no one pays much attention to him. The Onagis own the entire battlefield area, some 75 acres, given to their ancestor after the battle and legend has it there’s a curse that should anyone try to cultivate it all the men of the Onagi line will die young. The field has remained untouched for 300 years, but with a war on shouldn’t the Onagis rethink their reluctance to turn this wasteland into a productive agricultural area, even if the ridiculous idea of an ancient curse was somehow real?

Like Port of Flowers, The Living Magoroku is actually fairly light on militarism despite featuring a group of soldiers and prefers to focus on the slightly backward looking nature of this small village. Even under the conservative nature of wartime Japan, it’s odd that a couple of young people would feel the need to ask the old lady at the manor for permission to marry given that she really has very little to do with them – and even odder that she would refuse to give it and that her refusal would actually bother them. The cause of the problem being that the girl’s brother is the chief instigator of the motion to get the field back in use, and that he went directly to the young master rather than the mother who’s been de facto in charge of these things. Local politics – some things never change! The young people want to use the land, curse-shmursh, but the old people would rather not. Just suppose the curse is real – poor Yoshihiro, technically head of the Onagi family, is so worried about his prospective fate (and the way his mother, grandmother and sister seem to worry about it for him) that he’s almost paralysed with fear and resentment!

Thrown into the mix is another problem concerning the sword referenced in the title – a sword of unparalleled fineness forged by Maguroku the First of which very few survive. The instructor at the army base claims to have one which infuriates the local blacksmith and sword expert as he simply refuses to believe it. By coincidence, the Onagis also have one of these swords and are paid a visit by an army doctor seeking to buy it as, it turns out, his family once owned one but he sold it unknowing its rarity to pay for his medical tuition. Of course, the Onagis don’t want to sell a precious family heirloom, though they admire the doctor’s zeal to repay his debt to his late father by acquiring another one. The instructor’s sword turns out to be a fake anyway prompting the blacksmith to make him a new one – after all, needs must and a sword is just a sword, the name on it won’t matter much on battlefield. Similarly a field is just a field, isn’t it selfish not to use it when the country needs grain even if it might cost your life seeing as every other young man is looking down the barrel of a gun at the present time? The message is clear, traditions should be honoured, yes, but when it comes down to it, the present is more important than the past and superstition gives way to clearheaded pragmatism. Every resource must be pooled for the common good and personal sacrifices must be made to ensure a better future for everyone.

The Living Magoroku feels a little more uneven than Port of Flowers, and actually ends quite abruptly with a strange newsreel style wrap-up of events. Luckily, it’s still broadly a comedy in strictest sense (it ends in a series of marriages, everyone not already married ends up wed), poor old Yoshihiro gets a new lease on life and becomes a productive member of society, the village gets a bumper harvest and all is right in the world save the strange final message about the instructor who is apparently carrying his new sword bravely in the heat of battle. Like Port of Flowers, it wants to reinforce the traditional values of community spirit and giving up your own individual pleasures and freedoms for everybody’s good. The past informs the future, how could it not, but when push comes to shove you have to let it go. Like everything in life there has to be a balance, respect your history – yes, but not so much that it costs you your future.