Tag: Yoko Yano

Terror in the Streets (悪魔が呼んでいる, Michio Yamamoto, 1970)

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How much bad luck can one person have before they start thinking someone’s out to get them? Released as part of double bill with The Vampire Doll and based on a novel by Kikuo Tsunoda, Terror in the Streets (悪魔が呼んでいる, Akuma ga Yondeiru) draws inspiration from contemporary folk horror and the paranoia thriller as one young woman finds herself in the crosshairs of mysterious forces seemingly hellbent on derailing her otherwise very ordinary and aspirational existence. 

Yuri (Wakako Sakai) worries that her status as an orphan has set her back in life, attributing her inability to find permanent employment after managing to put herself through university by working as tutor to a societal stigma against people with no families. Up to now, things had been going pretty well. Though she was only a temp, she had a good gig as office admin staff at big company in the city, lived in a modest but homely flat complete with a small television, and was dating her college sweetheart. But then one day her boss looks at her with an odd expression and then abruptly drops the bombshell that he’s terminating her contract without offering a reason why. When Yuri calls her boyfriend he gives her the same look and says he’s breaking up with her, also refusing to give any kind of explanation aside from not wanting to see her anymore. If all that weren’t enough, her landlady then explains that someone else is very interested in her flat and will pay double for it so she wants Yuri out by the end of the month. 

It’s undoubtedly been quite a bad day, but Yuri tries to stay upbeat reflecting that she didn’t particularly like the job anyway and intends to apply for a position as an editor on literary magazine which would suit her better. But after that nothing quite goes to plan and everything she tries to improve her situation backfires until she finally considers taking her own life at railway crossing only to be rescued by a mysterious man, Fujimura (Takashi Fujiki), who appears as her saviour but then convinces her to take some kind of pill to calm her nerves which predictably leaves her dazed and confused. He then takes her back to her apartment and claims they’re legally married, but when Yuri wakes up the following morning he’s dead with a knife in his chest. 

It’s not the first time that Yuri has experienced an apparent gap in her memory which causes her re-evaluate her sense of reality. She’s beginning to feel as if something or someone is out to get her, realising that Fujimura was the same sinister man she’d caught sight of before staring into her window. Meanwhile, she often hears a strange tune played on an ocarina that sounds like a medieval fugue. The film’s Japanese title is “the Devil calls” and it’s not a huge stretch to assume that Yuri’s been caught up in some kind of dark magic or supernatural curse, yet it’s also the collision of outdated and feudalistic notions of class and patriarchy that have her in their clutches. All of these weird men seemingly want to marry her or at least make her theirs with less than romantic overtures while chief among her aggressors Katagiri (Hideji Otaki) describes himself as an Earl and insists that noble blood is the most valuable thing in the world.

But far as she knows Yuri has no noble blood and is alone and friendless as an orphan with only a “distant relative” she mentions in passing who does not live in Tokyo. She has in effect been made a pawn in a cruel and ironic game played by a distant aristocracy which makes sport of the innocent and powerless by wielding the privileges of wealth and class. The only way she can escape is by renouncing her claim on its legacy, declaring herself uninterested in their games or rewards while ceding the prize to another woman who seems to have been driven out of her mind by a similar series of torments that may have lasted her entire adult life. Yamamoto films the contemporary city in an eerie light, a place of greed and darkness inhabited by sinister and shady forces that prey on the innocent and earnest like Yuri but then there is something to be said for the idea that in the end you can’t con an honest man and Yuri’s pure hearted rejection of unearned wealth just might be her salvation.

Original trailer (no subtitles)

Beast Alley (けものみち, Eizo Sugawa, 1965)

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In the opening title sequence of Eizo Sugawa’s Beast Alley (けものみち, Kemonomichi), a thick blob of inky blackness gradually expands over an aerial view of the city until it obscures it entirely. The title card which then appears is written in plain white, but will reappear at the film’s conclusion this time ashen as if it too had been singed by the deeply ironic flames with which the film ends. Based on a novel Seicho Matsumoto and scripted by The Beast Shall Die’s Yoshio Shirasaka, the film similarly takes an incredibly cynical view of the modern post-war society in which it is revealed the militarists are still basically in charge and presiding over a deeply corrupt social order. 

The big bad, Kito (Eitaro Ozawa), says as much when he states the need for reforming the nation’s “rotten political system” by which he means post-war democracy. Kito made his made his money doing deeply dodgy things in Manchuria in addition to running an exploitative coal mine in Japan. Now mainly bedridden, he basically runs the country as a far-right political fixer working in tandem with big business and the yakuza who have traditionally been big supporters of conservative and nationalist forces. Early on we see one of his underlings negotiating with politicians to ensure that Taiyo Roads will be hired be hired for a large scale construction project planning to put highways all the way through Tokyo. As we later discover, he’s prepared to go to great lengths in order to achieve his goal, going so far as to have a sex worker murdered to implicate the uncooperative CEO of a rival construction film into resigning by threatening to frame him for the crime so they can install their stooge in his position. 

It’s into this world that everywoman Tamiko (Junko Ikeuchi) is drawn while working as a hotel maid at a traditional Japanese inn. Trapped in a bad marriage to a man who is also bedridden yet still attempts to rape her when she returns home to find him in bed with the housekeeper, Tamiko longs for escape and is therefore ripe for the picking when approached by Kotaki (Ryo Ikebe), the manager of an upscale Western hotel, to join him in an unspecified enterprise which will apparently make her very rich. The only catch is that she will have to “get rid” of her “dependent”, which she probably wanted to do anyway, by burning down her house with him inside it. Once she’s done this, there is no turning back for her even if she had not developed complicated feelings for Kotaki who is both her salvation and damnation. 

Tamiko’s husband had failed to give her the comfortable life that he had promised, something which she thinks Kotaki can deliver even if it requires her to become the plaything of Kito whom does she actually seem to like even if aware of the precarity of her position and still in thrall to Kotaki. Leaving the hotel so abruptly was however a strategic error as it arouses the suspicious of (originally) earnest cop Hisatsune (Keiju Kobayashi) who quickly realises that Tamiko set the fire to kill her husband. Though he seemed to be motivated by justice, Hisatsune too is soon corrupted explaining to Tamiko that he has become cynical and jaded. Years of police work have shown him that true criminals know how to break the law and get away with it so he can’t do anything about them, but “good” people, like he implies Tamiko, are pushed into crime by desperation and are easily caught. Tamiko wields her sexuality against him by agreeing to a tryst, though when it doesn’t go to plan he tries blackmail and then rape before she, ironically, manages to escape from his bungled crime. 

Hisatsune’s corruption is gradual and self serving. He starts with suspicion, tailing Tamiko in the interests of justice but also because he desires her, before stumbling on the conspiracy, putting the pieces together, attempting to use them for his own gain and trying to blow a whistle mostly out of resentment. Kito’s reach is all encompassing. Hisatsune is warned off investigating certain aspects of the crime by his senior officers and is then fired on Kito’s instructions for fiddling his expenses after harassing Tamiko. He tries to give his findings to his boss but it goes nowhere and then tries the press but is given the brush off, the editor his reporter friend refers him to gently implying he’s just a crank with an axe to grind. Of course, it turns out that the reporter is already in league with dodgy lawyer Hatano (Yunosuke Ito) who is Kito’s right-hand man. 

The connections between the three men, Kotaki who was once a communist, Hatano, and Kito go back to Manchuria and the corruptions of militarist era which it becomes clear has never really ended. Kito has only one rival and it’s another faction of the conservative ruling party who are probably just waiting for him die. Attempts are made on his life and they don’t go well for those who make them. Even if Hatano hoped to simply inherit an empire he, as he points out, put in much of the work to build he is sorely mistaken while Tamiko may intellectually understand that Kito’s death would place her in a precarious position but carries on regardless. “You never know who will betray you in this world” Kotaki laments, echoing Kito’s later claim that his Buddhist statues are the only ones will never betray him even as sleeps next to a statue of Aizen Myo whom he ironically claims protects mankind from their lust and desire. 

It could be said that desire is Tamiko’s undoing, but as Hisatsune had suggested perhaps you couldn’t blame her for longing to be free of the bedridden husband who had not delivered what he promised her. As she said, she was doing what could to survive even if you’d think she’d know putting on a ring taken from the finger of a murdered woman is akin sealing your own fate. Sugawa shoots with a noirish sense of dread, tracking Tamiko with her coat drawn up around her face as she tries to leave the scene of her crime, and makes the most of his fiery imagery before ending on a note of cynical laughter amid the inescapable hell the of post-war society. 

Original trailer (English subtitles)

Plan 75 (Chie Hayakawa, 2022)

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In 2016, a 26-year-old man went on a violent rampage murdering 19 people at a care home for the disabled claiming that he had done it “for the sake of society”. Prior to his crime, the killer had written an open letter in which he stated that he dreamed of a world in which those with severe disabilities could be peacefully euthanised, while claiming that those with no ability to communicate had no right to life and were nothing more than a drain on society. An expansion of her earlier short featured in the anthology film Ten Years Japan, Chie Hayakawa’s Plan 75 opens with a sequence which appears to directly reference the 2016 mass killing but in place of the widespread outrage and reconsideration of a social stigma towards disability that followed in its wake, the government decides to implement a “voluntary” euthanasia program for those aged 75 and over in response to the “concerns” of the young in an ageing society. 

Intergenerational resentment does indeed seem to be a motivating factory, the killer in this incident feeling himself oppressed by the responsibility of caring for the elderly while simultaneously hemmed in by a stangnant economy and heirarchical society. He points out that Japanese people have always praised self-sacrifice on behalf of the nation and alludes to the archaic tradition of ubasute or throwing out the old in which elderly people were abandoned on mountainsides to die in time of famine. There is no denying that the Plan 75 initiative has its insidious qualities in placing undue pressure on elderly people to give up their lives in order not to “burden” the young, an elderly woman attending a cancer screening remarking that she feels a little awkward as if she’s “clinging on to life”, being somehow greedy in the simple desire to continue living. 

Meanwhile, their society has already abandoned them. 78-year-old Michiko (Chieko Baisho) had no children and lives alone supporting herself with a job as a hotel maid where all of her colleagues are also elderly women. When one of them has a fall at work, they are all laid off. The hotel claims that they’ve received complaints from guests about exploiting elderly people, but Michiko suspects it’s more like they don’t want one of them to drop dead in someone’s room. Not wanting to be a “burden”, Michiko is reluctant to apply for social security but even when she accepts she has few other options the desk at city hall is closed. Her building, like her now old, is set for demolition but no one is willing to rent to an unemployed 78-year-old woman nor is anyone willing to employ one. More and more Michiko is pushed towards Plan 75 if only to escape her loneliness. Being robbed of the opportunity to work also removes the opportunity for socialising especially as the other old ladies decide to move in with family and leave the area. 

This is in fact an integral part of the Plan 75 business plan with case workers specifically instructed to keep the applicants happy through regular phone calls while prohibited from meeting them in person to prevent the older person changing their minds having made new social connections that make their lives more bearable. In the quietly harrowing scenes at the processing centre, for want of a better term, it becomes obvious that the majority of those submitting to Plan 75 are women as staff members empty out their handbags, dumping their possessions into a large bin while setting aside anything of value such as watches or bracelets which are perhaps another valuable revenue stream for a callous government that sees the programme as a cost cutting exercise.  

Case worker Hiromu (Hayato Isomura) only becomes conflicted about Plan 75 after recognising an applicant as his estranged uncle and eventually discovering that despite sales claims of dignified funerals remains are often sent to landfill care of an industrial waste company. His uncle’s plight perhaps highlights the pitfalls of life in post-war Japan. Living hand to mouth working construction jobs all across the country he never had an opportunity to put down roots or save for his old age and is now living a lonely life of desperate poverty. Heartbreakingly he put his application in on his 75th birthday, an act Hiromu’s boss describes as almost heroic as if he couldn’t wait to sacrifice himself for the common good. Later a sign goes up that fixed addresses are no longer needed to apply, while the Plan 75 stand in a local park where they are in the process of putting bars on the benches so that homeless people can’t sleep there doubles as a soup kitchen. 

One has to ask, if there was money available for all of these resources to help people die why is it not available to help them live? A young woman assigned as Michiko’s handler appears to have second thoughts while bonding with her over the phone, tearfully reminding her she still has the right to withdraw (though it’s never mentioned if that means repaying the $1000 signing bonus) while Michiko’s life too has been brightened by this little bit of intergenerational friendship, itself cruelly commodified in the allotted 15-minute sessions included in the plan. Told with quiet restraint, Hayakawa’s vision of an eerily dystopian future in which human life is defined by productivity and all human relationships transactional, where loneliness is the natural condition and society itself has become little more than a death cult, is painfully resonant in our increasingly disconnected world. 

Plan 75 screens at Japan Society New York on Nov. 20 as part of The Female Gaze: Women Filmmakers from JAPAN CUTS and Beyond.

Festival trailer (English subtitles)

Images: © 2022 KimStim

Hit and Run (ひき逃げ, Mikio Naruse, 1966)

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The contradictions of the contemporary society drive two women out of their minds in Mikio Naruse’s dark psychological drama, Hit and Run (ひき逃げ, Hikinige, AKA A Moment of Terror). Scripted by Zenzo Matsuyama and starring his wife Hideko Takamine in her final collaboration with the director, Naruse’s penultimate film takes aim at the persistent unfairness of a post-war society already corrupted by increasing corporatisation while caught at a moment of transition that leaves neither woman free to escape the outdated patriarchal social codes of the feudal era. 

The two women, both mothers to five-year-old boys, are mirror images of each other. Kuniko (Hideko Takamine), the heroine, is a widow working in a noodle bar and continually exasperated by her energetic son Takeshi who keeps escaping kindergarten to play pachinko which is not a suitable environment for a small child. Kinuko (Yoko Tsukasa), meanwhile, is mother to Kenichi and married to a high ranking executive at Yamano Motors, Kakinuma (Eitaro Ozawa). These two worlds quite literally collide when Kinuko, emotionally distressed and driving a little too fast, knocks over little Takeshi while he is out playing with some of the other neighbourhood boys. As she is with her lover, Susumu (Jin Nakayama), she decides to drive on abandoning Takeshi to his fate but discovers blood on the bumper of her shiny white convertible on returning home and thereafter decides to tell her husband everything aside from revealing her affair. Kakinuma covers the whole thing up by forcing their driver to take the rap to protect not his wife but the company along with his own status and success fearing that a scandal concerning his wife driving carelessly may have adverse consequences seeing as Yamano Motors is about to launch a new super fast engine that will make them worldwide industry leaders. 

Perhaps in a way the true villain, Kakinuma cares about nothing other than his corporate success. Kinuko states as much in complaining that he’s never once considered her feelings only his own and that their marriage was a failure from the start, little more than an act of exploitation in which she was traded by her father for money in return for political connections. For these reasons she seeks escape through her extra-marital affair but is unable to leave partly in the psychological conflict of breaking with tradition and partly because she has a son whom she would likely not be permitted to take with her even if it were practical to do so. Another woman says something similar in disparaging Kuniko, implying that her life is in some ways over as few men would be interested in marrying a widow with a child. 

Takeshi’s loss is therefore additionally devastating in severing Kuniko’s only lifeline. A brief flashback reveals that Kuniko was once a post-war sex worker, she and her yakuza brother Koji war orphans who lost their parents in the aerial bombing. When she married and had a child she thought the gods had smiled on her but in true Narusean fashion they gave only to take away leaving her a widow and finally robbing her even of her child. To add insult to injury, they try to put a price on her son’s life, a mere 500,000 yen for a boy of five hit by a car. When the driver stands in the dock, he gets off with only a 30,000 yen fine for the death of a child. Then again on visiting his home, there appears to be a boy of around five there too, perhaps you can’t blame him for taking the money having been robbed of his youth in wartime service. 

Still, on hearing from an eye witness that it was a woman who was driving, Kuniko quickly realises that Kinuko must have been responsible. Quitting her job she joins a maid agency in order to infiltrate the house and gain revenge later settling on the idea of killing little Kenichi, who takes an instant liking to her, to hurt his mother in the way she has been hurt only to be torn by her unexpected maternal connection with the boy. The conflict between the two women is emotional, but also tinged with class resentment that a wealthy woman like Kinuko should be allowed to escape justice with so little thought to those around her while Kuniko is tormented not only by her grief but the persistent injustice of the cover up. 

As in all things, it’s the lie that does the most damage in ironically exposing the truth of all it touches. Kinuko’s escape route is closed when her lover reveals that he’s lost faith in her, unable to trust a woman who’d run away from the scene of a crime and allow someone else to take the blame, while Kakinuma’s emotional abandonment of his social family for the corporate is thrown into stark relief by his immediate decision to further exploit their driver just as he will later their maid. Driven out of her mind, Kuniko has white hot flashes of lustful vengeance as she imagines herself engineering an accident for Kenichi, throwing him off a rollercoaster or coaxing him into traffic, only to regain her senses unable to go through with it so pushed to the brink of madness is she that no other action makes sense. 

Even so the conclusion is brutally ironic, Kuniko accused of a crime she did not commit but half believing that she must have done it because she wanted to so very much. Kakinuma gets a minor comeuppance, encouraged by his servant to make clear what actually happened and exonerate Kuniko thereby walking back his total commitment to the corporate (then again it seems his dream project was itself under threat from a potential plagiarism scandal) though the damage may already have been done. This societal violence of an unequal, increasingly corporatised and unfeeling society, eventually comes full circle bringing with it only death and madness as the two women seek escape from their internal torment. Naruse experiments with handheld camera and canted angles to emphasise the destabilisation of the women’s sense of reality along with blow out and solarisation in the visions that plague them, but curiously ends with a set of motor vehicle accident stats as if this had been a roundabout public information film to encourage careful driving. Then again perhaps in a way it is, a cautionary tale about the dangerous curves of untapped modernity and the cruelties of the nakedly consumerist era.