While Memoirs of a Geisha painted a romantic portrait of geisha living in a Japanese Cinderella story, Sisters of Gion gives viewers a realistic view. Directed by Kenji Mizoguchi, who’s fond of creating films about vulnerable women, the Sisters of Gion we see are the older, trusting Umekichi and the more perceptive, jaded O-Mocha. Umekichi’s patron has gone flat broke. He has to sell his store and his family has to move back to his wife’s hometown in disgrace. The wife isn’t the least bit happy about the shame that accompanies this fall.
The patron, Furusawa-san, accepts Umekichi’s offer to put him up. O-Mocha is incredulous and miffed. Doesn’t Umekichi realize that they’re just barely scrimping by? How can they take in a penniless former merchant? Quiet Umekichi ignores her younger sister, occasionally saying something about tradition or being good to people.
O-Mocha is the practical sister. She realizes that her sister needs a new patron, pronto and to get one she’ll need to be seen in an exquisite kimono at a top level party. O-Mocha gets her sister the needed invitation and figures out how to hustle an assistant in a kimono shop to help her sister. Later when the shop assistant is found out, O-Mocha cozies up to the shop owner who she wants to be her patron.
O-Mocha sees the geisha life for what it is — a way for men to have young playthings. It’s not a path she appears to have chosen, but she’s determined not to be a victim in the system, if that’s a possibility in a male dominated society.
The film was absorbing and often beautiful. I admired O-Mocha’s spunk and wished her sister would take some of her advice. It’s a classic, I’d love to see again.
Kurosawa’s The Bad Sleep Well blew me away. It’s not one of his most famous films, but it’s packed with power. I learned of The Bad Sleep Well via Tony Zhou’s Every Frame a Picture channel where Zhou analyzes Kurosawa’s effective placement of actors.
The film opens with reporters and detectives invading the wedding between the handsome apparently straight as an arrow Nishi to Yoshiko, the pretty and disabled daughter of CEO Iwabuchi, whose corrupt deals caused Nishi’s father’s suicide. Nishi has positioned himself in Iwabuchi’s corporation as his assistant and married into the clan to exact revenge for his father’s death.
Disrupted by the appearance of a wedding cake that looks like the building Nishi’s father killed himself and by the arrest of a loyal, timid employee indicate the disaster of the marriage. Nishi has spent five years trying to get into Iwabuchi’s inner circle to expose the kickbacks and violence that fueled the success of Public Corporation. Iwabuchi and his colleagues are cold blooded, willing to goad their employees to suicide if it helps them keep their dirty cash flowing in.
While the film differs from hamlet, there are many intended parallels. Nishi’s obsessed with his father’s death. Yoshiko is very much like Ophelia and she meets no better end. While Nishi’s mother never married, Kurosawa uses gray flannel ghosts to freak out his characters.
The evils of corporate greed have bene a common theme in modern film Somehow Kurosawa, while showing blatant, unrepentant evil, doesn’t seem to have exaggerated. The executives and their conniving seem all too real.
Every scene had me riveted and the ending was a complete surprise, though it was perfect. It’s a film the I won’t soon forget.
A Western woman, who’s taken on Japanese style and speaks Japanese very well, asks people in Tokyo what they envy in foreigners.
Tatsimi is the autobiography of Yoshihiro Tatsumi, a famous manga artist in Japan. Manga are Japanese comic books, a literary genre differs significantly from American comic books. Tatsumi is interspersed with short stories by Tatsumi which gave me a sense of how this graphic genre handles mature themes and experiences with insight, irony and
Tatusmi grew up during the war and took to drawing professionally to help his mother make ends meet. His father was good-for-nothing and once Tatsumi started selling his work, his father destroyed his drawings.
The film follows Satsuma’s career from his teenage to middle age years. We see is popularity grow, his career stall when he outgrows the genre of teen manga and finally goes on to develop a new genre, called gekiga, which targets middle aged readers. It’s the story of the career of an artist and doesn’t go into much detail into Satsuma’s personal life once he’s grown. I found it a terrific introduction to an art form. In addition, since Tatusmi’s life spanned WWII and the ensuing years so full of change for Japan, it was an excellent way to learn about modern Japanese history.
If you can’t get yourself to Asia to live the fabulous life of, say an English teacher, just check out one of the over 1000 videos Simon and Martina have made in which they share their discoveries of their old home Korea and their new home Tokyo.
Warning! After watching this I wanted to buy a yukata.
After watching this you’ll want to eat Japanese ice cream. Hard to come by in most places, but a lot cheaper than a yukata.
Here’s some good advice on the protocol of Korean spas, which are worth a visit if you’re in Korea.
I learned about this amazing animated film from Every Frame a Picture (below). Created by Satoshi Kon, Millennium Actress is a unique, dreamy film that tells the story of Chiyoko, an old woman who looks back on her life when a documentary filmmaker, Tachibara, finally convinces her to agree to being interviewed. Tachibara, who was always sweet on Chiyoko, presents Chiyoko with a long lost key, which like Marcel in In Search of Lost Time opens up a storehouse of memories. Then the story goes back in time in an incredibly imaginative way mixing flashbacks, dreams and daydreams to show why Chiyoko went against her mother to become an actress during WWII.
The story skips back in time to various times in Chiyoko’s life and further goes back to various periods in history which her films were set in. There are a few political messages, which like Kurosawa’s No Regrets for our Youth, criticise how Japan imprisoned those who disagreed with the war. Because Kon’s techniques are so innovative in how they harken back to the shape-shifting that’s a frequent feature of Japanese folktales (but you don’t need to know that to enjoy the film), the film constantly surprised and delighted me. Throughout the film, the current day filmmakers were present in the past and that technique was particularly intriguing and innovative — at least to me, a novice in the anime world.
This video by Tony Zhou is incredible and made me want to see Millennium Actress.
Until I saw The Inheritance I knew nothing of director Misaki Kobayashi . Until I started my movie New Years resolutions, I only knew of Kurosawa and Ozu. Japan has manymore directors whose films still have power.
The Inheritance shows the materialism of post-WWII Japan. It’s set in the 1960s and the Japanese have prospered. They aren’t trying stretch 35 yen to last all day as the characters in the ironically titled One Wonderful Sunday did. With a jazzy soundtrack, The Inheritance tells the story of a company president who’s learned he’s dying of cancer. He decides to track down his three illegitimate children so his materialistic young wife doesn’t get all of his 300,000,000 yen fortune.
We see the story through the eyes of Yasuko, his aloof secretary, who could pass for a Japanese Audrey Hepburn. the employees who’re supposed to hunt down the children, all get yen signs in their eyes and make deals with the wife. The man’s son leads a life of desolation and his youngest daughter has died, but his wife and employee try to pass off their secret daughter as the heir. (They had a fling behind the man’s back.)
As the man’s health deteriorates Yasuko moves into his house. His wife is not welcoming in the least. The boss does make a play for Yasuko, who lacks the power to push him away or leave the house. Since she’s living in an apartment she describes as a concrete box, the idea of getting more money appeals to her.
I thoroughly enjoyed this look at Japan. It’s a story of conniving and greed done in a way I wouldn’t expect. If you’re looking for a different sort of drama, see if you can find The Inheritance. My library had the Criterion Collection DVD. I wish they had an audio commentary or more extras as it’s a film I’d like to learn more about.