Flowers (フラワーズ, Norihiro Koizumi, 2010)

flowersThe rate of social change in the second half of the twentieth century was extreme throughout much of the world, but given that Japan had only emerged from centuries of isolation a hundred years before it’s almost as if they were riding their own bullet train into the future. Norihiro Koizumi’s Flowers (フラワーズ) attempts to chart these momentous times through examining the lives of three generations of women, from 1936 to 2009, or through Showa to Heisei, as the choices and responsibilities open to each of them grow and change with new freedoms offered in the post-war world. Or, at least, up to a point.

In 1936, oldest sister Rin (Yu Aoi) is to be married off against her will to a man picked by her father and whom she has never actually met. Bold and wilful, Rin finds herself more than usually torn between her intense resentment at being forced into a one time only life changing event simply on her father’s say so, and the guilt of rejecting centuries of tradition in rejecting her father’s authority. Minutes before the ceremony Rin makes a break for it fully done up in her wedding dress and makeup.

Flashing forward to her funeral in 2009, we learn that Rin did marry (someone, at least) and had three daughters. It’s her granddaughters we’re interested in now – happy mother Kei (Ryoko Hirosue), cheerful even at a wake, and the depressed Kanna (Kyoka Suzuki) – an unmarried former concert pianist who’s recently discovered she’s pregnant and is unsure what to do. In order to understand them we have to flashback a little again – to 1969, 1964, and 1977 to find out what happened to Rin’s three daughters – Kaoru (Yuko Takeuchi), Midori (Rena Tanaka), and Sato (Yukie Nakama).

Koizumi makes the most of his shifts in time periods to experiment with technical effects recreating the look of classic films of the era. Hence, 1936 is a desaturated monotone filled with classic silent movie compositions, seemingly owing a large debt to Ozu, Shimizu, and Mizoguchi. The difference between 1964 and 1969 might be thought slight but partly down to the different genre elements in the two vignettes, the contrast is marked with 1964 taking on the classic romantic melodramas of the period, and 1969 embracing bright and colourful salaryman comedy – only this time it’s a salary woman embarking on the era of having it all (though perhaps, tragically, ten too years to early to make the most of it). 1977 brings us back down with bump of realism as Sato lives an ordinary suburban life as a housewife and mother. Imbuing each of his eras with the warmth of nostalgia backed up with rich period detail, Koizumi has indeed framed his passage of womanhood narrative with an impressive degree of grounding.

This has been a period of intense social change, entirely for the better even if there is still a long way to go. Though marriages of 1936 were referred to as semi-arranged, families could and did place intense pressure on their children to consent or refuse to accept their refusal to do so (perhaps as true for sons as daughters, though sons were unlikely to find themselves in such a difficult position when things went wrong). Thus the course of Rin’s life is decided by her rigid, austere father leaving her with no possibility of choice in a world entirely controlled by men. Her daughters have more freedom and opportunities, marrying for love and choosing careers and/or motherhood as they see fit.

Midori, the most headstrong of the three sisters takes a job at a publishing house where she is the only female employee. Receiving a marriage proposal leads her to question her choices once again, wondering if accepting means jumping off the career ladder altogether. Wanting to get ahead, Midori has been behaving like her male colleagues – dressing in less feminine clothes and in subdued colours, heading off the inevitable sexist comments with aggression and violence but, eventually emboldened, she she finds herself blossoming when embracing her femininity within the workplace.

The world has moved on – women cannot be pushed in the same way Rin was pushed even if social mores can still be used to cajole them into conformity. The one big recent social change is in Kanna’s decision to proceed as a single mother. Though the question is still raised, there is broad approval for the idea which is met with no obvious stigma and only love and support from her immediate family. However, some things apparently don’t change as even if not all roads lead to marriage they all point towards motherhood which is still presented as the only marker of success as a woman. In this respect the closing montage accompanied by the odd choice of Olivia Newton John’s Have You Even Felt Mellow feels ill judged as the sister who’s experienced the ultimate heartbreak bounces around recreating the opening of Georgy Girl (only more successfully) with a new haircut and indulging in an ice-cream as a sort of antidote to eternal widowhood.

Nevertheless, Flowers does present a warm and broadly inspirational ode to the healing power of family and unbreakable female resilience even in the midst of such extreme social change. Painted with a keen eye for period detail and a deeply nostalgic longing for comforts long since passed, Koizumi’s exploration of womanhood through the ages is quick to acknowledge the pain and sacrifice experienced by women of all generations but is, in the end, too ready to accept it.


Original trailer (no subtitles)

Hold Up Down (ホールドアップダウン, SABU, 2005)

hold-up-downReteaming with popular boy band V6, SABU returns with another madcap caper in the form of surreal farce Hold Up Down (ホールドアップダウン). Holding up is, as usual, not on SABU’s roadmap as he proceeds at a necessarily brisk pace, weaving these disparate plot strands into their inevitable climax. Perhaps a little shallower than the director’s other similarly themed offerings, Hold Up Down mixes everything from reverse Father Christmasing gone wrong, to gun obsessed policemen, train obsessed policewomen, clumsy defrocked priests carrying the cross of frozen Jesus, and a Shining-esque hotel filled with creepy ghosts. Quite a lot to be going on with but if SABU has proved anything it’s that he’s very adept at juggling.

Christmas Eve – two guys hold up a bank whilst cunningly disguised as Santas, but emerging with the money they find their getaway car getting away from them on the back of a tow truck. Still dressed as Father Christmases, the guys head for the subway and decide to stash the cash in a coin locker only neither of them has any change. After robbing a busker at gunpoint for 800 yen, the duo get rid of the loot but the guy chases after them at which point they lose the key which the busker swallows after being hit by a speeding police car. Trying to cover up the crime the two policeman bundle him into the car but crash a short time later at which time the busker gets thrown in a lake and then retrieved by a defrocked priest under the misapprehension that he is Japanese Jesus!

Following SABU’s usual spiralling chase formula, events quickly escalate as one random incident eventually leads to another. Christmas is a time of romance in Japan, though encountering the love of your life during a bank robbery is less than ideal. After a love at first sight moment heralded by a musical cue, the thieves head back on the run with the girl in tow but the course of true love never did run smooth. If romance is one motivator – death is another. On this holiest of days, our defrocked priest is caught in a moment of despair, contemplating the ultimate religious taboo in taking his own life and ending the torment he feels in having failed God so badly. Therefore, when our scruffy hippy busker washes up right nearby he draws the obvious conclusion – Jesus has returned to save him! Attempting to make up for his numerous mistakes, the priest is determined to save and preserve his Lord, but, again, his clumsiness results in more catastrophes.

The situation resolves itself as each of the players winds up at the same abandoned hot springs resort which turns out to be not quite so closed down as everyone thought. Filled with ghostly charm, the gloomy haunted house atmosphere sends everyone over the edge as they thrash out their various issues as if possessed by madness. Culminating in a sequence of extreme slapstick in which everyone fights with everyone else and frozen Jesus plays an unexpectedly active part, Hold Up Down brings all of its surreal goings on to a suitably absurd conclusion in which it seems perfectly reasonable that those wishing to leave limbo land could take a 2.5hr bus trip back to the afterlife.

Pure farce and lacking the heavier themes of other SABU outings, Hold Up Down, can’t help but feel something of a lightweight exercise but that’s not to belittle the extreme intricacy of the plotting or elegance of its resolution. An innovativeIy integrated early fantasy sequence begins the voyage into the surreal which is completed in the strangely spiritual haunted house set piece as the disillusioned priest spends some time with congenial demons before attempting to make his peace with God only for it all to go wrong again. If there is a god here, it’s the Lord of Misrule but thankfully they prove a benevolent one as somehow everything seems to shake itself out with each of our troubled protagonists discovering some kind of inner calm as a result of their strange adventure, as improbable as it seems (in one way or another). Christmas is a time for ghost stories, after all, but you’ll rarely find one as joyful as Hold Up Down.


Scene from the end of the film: