Patema Inverted has a strange premise that kept playing with my mind. In this Japanese sci-fi-fi anime, there are two worlds one civilization inhabits the surface of the earth and gravity effects them like it does us. It’s a society that demands conformity and does not allow people to question the status quo. We see this in the robotic school children who ride conveyor belts into their schools and all have the same blank expression on their faces. The only rule breaker is Age (pronounced ah-gay) whose father was an inventor who tried to build a kind of flying machine and when testing it met with dire consequences.
Patema lives underground in the other civilization where gravity works in the other direction. In this artful dystopia, people stand on the ceiling (in terms of our orientation) and things fall up. The two civilizations are off limits to each other. In fact the elders of each just prohibit any inquiry into societies other than their own. One day, Patema sets off exploring as her older friend Lagos has. By accident, she finds herself in Age’s world and the only way she can stay put is to either hold on to Age by the waist, which lifts him off the ground, but prevents her from flying through the sky indefinitely or by standing on a ceiling.
In this totalitarian society, the dictator realizes someone from the other world has entered and most of the film is his evil chase to get Patema and then destroy her people.
The film’s background art was stunning. The concept was interesting, but often melodramatic. The evil leader was just too hokey for me.
Kurosawa’s 1970 Dodesu ka-den (どです か でん) was his first color film and the first film he released in five years after going though a rough experience directing a film for 20th Century Fox, a studio that didn’t trust him and spread rumors about him having had a nervous break down. To prove his detractors wrong, Kurosawa brought a collection of short stories to life on film.
Set in a post-war slum, Dodesu ka-den follows a group of beautiful or actually mainly grubby losers, most of whom aren’t regulars at the public bath. The story begins with a boy we’d now consider on the autism spectrum. He begins his day praying with his mother who’s distraught by his behavior. Every day, this boy, who lives out the fantasy that he’s a trolley driver by pantomiming every action of one. The actor’s skill would give Marcel Marceau a run for his money. The boy meticulously follows the rules of trolley service and scolds anyone who’s accidentally sitting on his “tracks.” Of course, he’s the prime target of taunting neighborhood boys.
There’s a group of half a dozen housewives who spend their days overseeing the comings and goings of everyone in the surrounding shanties. They gossip about the two women who’re married to men seemingly competing to be the town drunk and who casually swap their husbands from night to night. These women are little better than their husbands in terms of temperance or temperament.
Another woman has five children and another on the way. Each child has a different father. She’s selfish and doesn’t care for anyone else. The scene when her current “husband” comforts the kids who’re crying because their pals have told them that each one has a different father and that this good-natured guy is not their “real” dad, was a highlight.
The scenes with the homeless dreamer who has his son beg for food and helps the young boy keep his spirits up by sharing his imagined view of the glorious house they’ll one day have with a English gate, a Scottish living room, and a swimming pool, were poignant and touching.
One of my favorite characters was an engraver who was the one sensible person in the neighborhood. He quietly made the right decision or said the right thing whenever someone was on the brink.
The film doesn’t have a typical story structure where people are facing a defined problem and its resolved by the end. Most of the characters had bleak existences that would make a Dickens character look privileged. Yet the film does offer respect and hope. Sometimes that hope was the charactes’s greatest flaw.
Kishimoto and the player’s girlfriend
A social critique of post WWII Japan, I Will Buy You shows how baseball became corrupted and how athletes became commodities in the 1950s. Directed by Masaki Kobayashi, I Will Buy You shows the machinations surrounding a college baseball superstar’s entry to pro sports. The story focuses on Kishimoto, a driven scout who’s hellbent on signing Kurita, a hot college hitter. To do this he needs to woo Kurita’s greedy family, his girlfriend who’s leery of the materialism that’s taken over Japan and finally his deceptive, self-centered mentor.
Kishimoto (right) with his boss
I Will Buy You is in the shomin-geki genre, which consists of dramas about the problems of ordinary society. Here Kobayashi takes on the world of Japan’s most cherished sport, baseball. (I had a student who insisted that the Japanese invented baseball.) Kobayashi brilliantly challenges viewers to see how calculating, conniving and avaricious it’s become.
People think the Japanese are oblique and indirect, but in I Will Buy You characters are explicit in what they want and how they feel about Kurita, who’s rarely on screen and he’s objectified like no other film character I can think of.
The film had a compelling story and covered sports in a way an American film wouldn’t. The end surprised me. With so many characters standing in the shadows, the masterful cinematography reminded me of film noir minus the murder or crime.
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.
Kahichi and son Tomio
Yasujiro Ozu’s Passing Fancy (1933) takes us into the shitamachi, i.e. tenement neighborhood of Tokyo where factory worker Kihachi, a widower, lives with his young son, Tomio. The film opens with Kihachi watching a storyteller with his neighbors. The scene with Kihachi battling a fly are comedic. After the show, Kihachi meets Harue, a young, pretty woman who’s just last her job and has no where to go.
Not only is Kihachi moved, he’s smitten. His young neighbor Jiro kids Kihachi urging him not to get his hopes up. A lazy, uneducated jokester, Kihachi’s amusing, but you know he’ll never get ahead. Moreover, you know he’ll never get the girl. His hopes die hard. He’s unaware of Harue’s soft spot for Jiro, who rebuffs her advances. Still her continued love for Jiro means she’s never going to fall for Kihachi.
Tomio’s a good student and impudent son. His classmates taunt him and in turn, Tomio puts down his father for his illiteracy and lazy ways. The argument escalates, but Kihachi realizes his son’s situation and gives a lot of money to spend as he wishes. He hopes the windfall will alleviate the pains of their poverty however briefly. But Tomio, who’s about 9 or 10, gorges himself on sweets, which results in a critical illness. With Tomio in the hospital Kihachi, Jiro, Harue and another neighbor are brought together.
It’s never explained why Tomio’s got the eye patch
The silent film moves slowly by modern standards, but is full of touching scenes that will reward patient viewers. Ozu’s characters are engaging. I particularly liked that the boy was sometimes the model son, who has to make his drunken father get up for work, sometimes a victim and sometimes a brat. It isn’t often that children are so multi-dimensional in film.
Here’s an essay on the film on Criterion Collection.
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.
Directed by Mikio Naruse, Apart from You (1933) shows two geishas who’re stuck in an ignoble profession they wish they could escape. The film starts with an amusing scene in a geisha house run by an old woman who smokes and gambles. She studies the racing statistics in the paper like a scientist.
While Western books and films Orientalize geishas accenting their musical skill and gorgeous clothes, I’m finding films and books created by Japanese people portray this life as hard and soul killing.
I can’t improve upon Michael Koresky‘s synopsis so I’ll simply quote it:
Apart from You also gives us our first glimpse of Naruse’s careful way of dramatizing geisha life. The film concerns two melancholy working women: the long-suffering Kikue (seen in an early shot plucking out telltale gray hairs) and the younger Terugiku, whose beauty and seeming optimism mask growing disillusionment. Their internal wounds slowly become apparent: Kikue is having difficulty with her teenage son, Yoshio, who, bitterly embarrassed by his mother’s profession, has stopped attending school and fallen in with a pack of delinquents. Terugiku harbors deep resentment toward her family, especially her alcoholic father, for forcing her to become a geisha to help support them. An attraction develops between Terugiku and Yoshio—in the film’s most moving segment, she takes him on a trip to her family’s impoverished village; there, she instructs him that it’s wrong to be ashamed of and mistreat his mother, who works in her profession only to provide for him and his education. The verisimilitude with which Naruse depicts the geisha existence reaches its apex in the film’s frenetic party scenes, startlingly physical, decadent displays based on the director’s observations of a geisha house near Shochiku Studios.
Apart from You is a moving film though there were a few shots that were awkward as if the director was trying to figure out the medium. These were rare, but glaring errors, which given the power of the whole film, are easily overlooked. Similarly, the hoodlums Yoshio joins seemed like caricatures, but they’re not on screen that much. Both actresses who play geishas were quietly compelling and sympathetic.
Sunako (L) and Dora (R)
I’m catching up with blogging. My last week in the US and first week of school have made it hard to blog.
Even with the busy schedule, I’ve been able to keep up with my New Year’s Resolution to watch one old movie a week (except for finals’ weeks). I just haven’t been able to blog about them.
The week before last I tried Hiroshi Shimizu’s Japanese Girls at the Harbor. I didn’t realize when I picked out the DVD at the library that it was silent. What’s more the DVD I had had no music sound track, though the box mentioned a new sound track. Not a big deal.
Japanese Girls at the Harbor follows two school girls, Dora and Sunako, who promise to be loyal friends forever. The promise lasts for about three minutes. When Henry, a Japanese young man with a Western name, catches the girls’ eyes as he nears them on his motorcycle the friendship shows its fragility. Sunako waves at Henry and feels he’s hers. They talk briefly and soon Henry sees Dora, and she’s pretty (prettier, I’d say). When Sunako pouts, Dora promises to give up Henry. Then the girls go to a church for some reason and discuss their Henry problem. I wasn’t sure what to make of Henry’s Western name or the scenes in the church. The conflict over this boy was true to life, despite the girls’ apparently superficial loyalty to each other.
Eventually Dora and Henry marry. Sunako becomes a low level geisha. She dances with men in Western suits at an establishment where some of the party girls are in Western dress. Sunako’s acquired an admirer who’s something of a pet. He’s a Japanese man who claims to be an artist. He does paint her all the time and he wears a beret, so he must be an artist. He just hangs around her like a moon orbiting the earth. Sunako isn’t rude to him, but she doesn’t seem to care about him that much either. Sunako pouts a lot and Henry starts visiting her at the club. It’s unclear whether he’s there to watch over her or to take advantage of the sleazy (for that era) scene. I think it’s a bit of both. Henry and the man in the beret are a bit jealous of each other. Dora’s pregnant and unaware of Henry’s visits. In time she learns how Sunako’s life has gone down hill from her youth when she wore her innocent school uniform. Sunako smokes, pouts and looks sullen quite a bit. It’s amazing that her customers would spend time with her.
Sunako and a friend who works at the same bar
I can’t recommend the movie. It had potential, but was rather sentimental and dated. I think you could do a lot with this story even with the constraints of an era when sex wasn’t openly depicted.
Evidently, Shimizu is a popular director and contemporary of Ozu. I think Ozu’s a lot better. Shimizu was able to crank out films and made over 100 in 40 some years. I am more impressed by quality rather than quantity. To really decide what I think about Shimizu, I’d need to see a talkie and understand any themes or symbols I might have missed in this one.