Giants & Toys (巨人と玩具, Yasuzo Masumura, 1958)

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Less acerbic than Masumura’s later Black Test Car, Giants & Toys (巨人と玩具, Kyojin to gangu) is an altogether more humorous, if no less piercing look at post-war consumerism. This time the battle ground is confectionary as the Japanese sweets industry laments the all powerful American candies taking over the Japanese landscape. Three sweet companies are duking it out for the hearts of Japanese consumers and the hard working salarymen in the PR & marketing departments are becoming ever more desperate to find the key to becoming Japan’s top selling sweet maker.

The three companies are Giant, Apollo and World, each of which is currently trying to come up with an advertising campaign which has a competition element that will really hook in the populace. Our main focus is with World whose top PR man, Goda, is currently stumped when he spots quirky hillbilly Kyoko in a bar and hatches on an idea to make her the central poster girl of his ad campaign. Kyoko is 18 with gap teeth and a childlike innocence that makes her a great fit for selling their confectionary products to the adult market. At the same time, Goda’s assistant Nishi meets an older female executive from Apollo who’s trying to shift a set of spacesuits. This fits in neatly with another of Goda’s space themed ideas and a suitably bizarre campaign is launched with the gangly Kyoko dressed up in a kitsch spacesuit and pointing a ray gun which is somehow supposed to encourage people to buy sweets. Kyoko is a hit! However, the more popular Kyoko becomes the more her innocent charms begin to dissipate. What will become of her, and of the campaign, as the competition mounts?

For an area that’s supposed to be so totally frivolous and cheerful, confectionary sales are serious business. Goda is working himself into an early grave just to sell sweets to grownups and old people. It’s advertising and marketing but like everything else in life it’s just so much spin. What they’re really trying to sell is frivolous fun and a return to childhood’s freedom all packed into a momentary suck on a salted caramel. In the Japan where “everyone works all the time” this may be quite an attractive idea, especially to the put upon members of the confectionary marketing board.

However, trivial as sweets are, they represent the fleeting unimportance of pop culture memes. During one of Kyoko’s recording sessions we meet one of the solitary female producers (labelled a “machine” by two of the other women waiting to be seen) who laments that a has been star keeps hassling her for work though her time has passed and no one’s interested. This is most likely how things will wind up for Kyoko, five minutes of being everywhere followed by a lifetime of being nowhere at all. After signing with World for their TV and radio advertising she becomes a break out personality attending events as a celebrity in her own right and later even becoming a pop star complete with a totally strange, South Pacific themed musical number referencing some kind of cannibalistic genocide where they’ll sell back the remains of the men they’ve killed to the native wives. Pointed satire in more ways than one.

Goda wants to build a kind of mass media dictatorship, cleverly controlling the public mood through all pervasive advertising (a prescient thought, if ever there was one). Having taken things too far, he’s taken to task by his underling, Nishi, who’s had a bit of a rethink following a series of heartbreaks involving friends and lovers. “I won’t sacrifice my dignity” he says, only to be shown doing just that a couple of minutes later as he himself dons the ridiculously camp space suit, takes the ray gun in hand and wanders out into the streets to be met by a series of bemused stares from the passersby. Eventually, the woman from Apollo with whom he’d been having an affair spots him and with an equally amused expression instructs him to “smile warmly”, at which point he grimaces before managing to turn it into a robotic grin.

Still oddly current, Giants & Toys is an absurdist’s guide to corporate politics where personal integrity is sacrificed on the altar of commerce. Everyone runs round in circles working hard to sell things no one really wants or needs to other hardworking people just to keep the wheel spinning. “Kanban Musume” come and go, one ridiculous meme follows another and we all just fall over ourselves to chase whichever unattainable ideal they pitch us. It would be nice to think the world has moved on since 1958, however…


Giants & Toys is available on R1 DVD with English subtitles courtesy of Fantoma.

Trailer

I Will Buy You (あなた買います, Masaki Kobayashi, 1956)

20140731_762129In I will Buy You (あなた買います, Anata Kaimasu, a provocative title if there ever was one), Kobayashi may have moved away from directly referencing the war but he’s still far from happy with the state of his nation. Taking what should be a light hearted topic of a much loved sport which is assumed to bring joy and happiness to a hard working nation, I Will Buy You exposes the veniality not only of the baseball industry but by implication the society as a whole.

Kishimoto works as a scout for a popular Tokyo baseball team. His job is to find the promising young players and charm them into accepting a contract before any of the other teams get to them. His first assignment doesn’t go well when he arrives at an ace pitcher’s home only to be told the subject in question is recovering from having lost a finger in a workplace accident. No major league career for him – Kishimoto heads home without even introducing himself. The next prospect is very exciting – a semi-well known college ball player who might be persuaded to turn pro. However, the student, Kurita, is “managed” by a benefactor, Kyuki (whose name literally means “ball spirit” in Japanese) who seems to be a difficult man to deal with. Nevertheless, Kishimoto is young, ambitious and determined to get Kurita on side by any means possible.

It’s just baseball, one might think but it’s almost as if we’re playing for souls. Everyone is lying, everyone is double crossing everybody else and everyone has their own interests at heart all the while swearing they only want the best for Kurita. Kurita has become a trophy, no one has even thought to ask him if he actually wants to keep playing baseball. He’s no no longer a person for them so much as a flag to be captured. This might actually work out quite well for Kurita himself who, it turns out, is far from the country bumpkin everyone has him pegged as. Though surrounded by carping relatives who are also all intent on exploiting his talent, the possibility of Kurita suddenly discovering the power to make his own decisions is a threat to everyone that they haven’t even considered yet.

Kyuki himself is the bad guy we’ve all been set up to be suspicious of but may actually turn out to be the most decent hustler in the picture. They say he spied for the Chinese during the war but is it a rumour you can really believe or just the jealous slurs of his various rivals? He himself says he taught Chinese girls to use the bayonet and carries an air of aloofness that makes him seem untrustworthy. He’s bankrolled Kurita’s education and taken on the position of a father to him over the last four years but how much of that is genuine feeling and how much financial investment? Kyuki is a married father with a family out of town but is sort of living with the older sister of Kurita’s girlfriend which is an awkward situation in itself. He also claims to have a serious gallstone problem which requires an operation though others claim he’s putting it on. Who is Kyuki, with his suspiciously apt name and hard nosed attitude can we trust him, or not?

I Will Buy You is a characteristically angry and cynical effort from Kobayashi and though it’s still a fairly early work carries some of his later technical prowess. Stripping the mask away from what is assumed to be a gentle pastime, the film lays bare the money hungry desperation of post-war Japan. Money ruins everything, even something as innocent as baseball. The Kurita from the end of the film is not the idealistic young student who came to Tokyo but a canny self-interested individual. Whether or not this transformation, and the accompanying transformation of Kishimoto whose eyes have been well and truly opened, is for the better or not maybe a matter of personal perspective but it’s not hard to guess where Kobayashi stands.


I Will Buy You is the second of four early films from Masaki Kobayashi available in Criterion’s Eclipse Series 38: Masaki Kobayashi Against the System DVD boxset.