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4/4/26 (Sat)
Jacques Tourneur’s classic 1947 noir was adapted by Daniel Mainwaring (under a pseudonym) and others from his 1946 novel, Build My Gallows High, a phrase that appears memorably in the movie script. I was surprised to see Kirk Douglas as a featured performer rather than the star, but those were early days.
Continue reading3/27/26 (Fri)
EM Forster’s book, considered a minor work in his oeuvre, was given a terrific adaptation by James Ivory in 1987. The novel was conceived in 1913 but not published until 1971, a year after the author’s death, due to his concern over the gay content. Ivory, who is himself gay, unexpectedly chose this after the success of his first Forster adaptation, the wonderful A Room with a View. While the gay aspect sets the film apart for its time, the question of identity extends as well to class, the perennial subject of the British arts, which makes it more complex.
Continue reading2/23/26 (Mon)
These were the second and third shows of a three-part production this month. Part 1 consisted of the first few acts of Ehon Taikoki, with succeeding acts in Part 2. I considered seeing the first two together since the full show is not done often in Bunraku (this was the first time in the Kanto region for certain acts in 20 years) and not at all in Kabuki, which has preserved just the 10th act of the 14-act show. But that would come to over six hours of showtime, a bit too much to ask of my friend. Bunraku lost its permanent home in Tokyo when the National Theater closed several years ago and is wandering among venues with each production, shedding fans along the way; this one was not even in Tokyo, and the theater was way too large for a puppet drama. But Yokohama is a massive city as well, and with the rarity of the pieces, both shows were nearly sold out, which was nice to see. The overall theme seemed to be losers from turning points in Japanese history, namely Akechi Mitsuhide and Minamoto Yoshitsune. (The first play uses different names due to shogunal restrictions, but I’m using the historic names here.)
Continue reading2/12/22 (Fri)
I see where a musical version of the great Imitation of Life is in the works, drawn from the original 1933 novel and both the 1934 and 1959 film adaptations, all of which differ in significant ways from the others. It is being written by the estimable Lynn Nottage (Sweat) with music and lyrics by pop star John Legend in his first musical. What modern-day writers and audiences will make of the material is to be seen, but the two movies give some clue as to changes in perspective over time. The earlier and superior film rendition, discussed here, was melodrama that crossed into tragedy. Douglas Sirk’s remake a quarter-century later never made that crossing.
Continue reading4/23/13 (Tue)
Nakahara Shun’s 1991 film version of a play from the previous year by the prolific Mitani Koki envisioning jury duty à la Japonaise based on the format of Twelve Angry Men – call it “Twelve Not-So-Angry Japanese”. While the jury system has since been introduced in Japan, Mitani seems less interested in politics than in showing the Japanese temperament at work. Twelve jurors initially dismiss a murder case in an eagerness to get their duty over with and return home, but one of them has second thoughts and forces a serious discussion, which proceeds in the movie roughly in real time. A man has been run over by a truck after allegedly being pushed into the street by his ex-wife. But was it premeditated or self-defense? Did the woman have murderous intent, or did she push him without realizing the truck was coming?
Continue reading3/29/26 (Sun), Tokyo
I didn’t bother to see this in London or New York, wary as always about another movie-to-musical adaptation. But a friend had an extra ticket to this sold-out Japanese-language production, and I had heard good things about the staging, handled here as on the West End/Broadway by John Rando. As usual for productions by the giant Gekidan Shiki theatrical group, I saw no children at all at this family-oriented show. Families are crowded out by the avid Shiki fans, for better or worse.
The show itself is just the movie on stage with some mediocre songs thrown on top in all the predictable places. Continue reading
3/22/26 (Sun)
Togan Koji: An infrequently performed play by Zeami. The title can be translated as Lay Priest of the Eastern Shore, the latter referring to the entry point to the paradise on the west. Togan Koji, a real-life personage (he has a grave in Nagoya), was a disciple of Jinen Koji, the subject of a play by Zeami’s father. Whereas that play involved a kidnapping of a young girl and her dramatic rescue, Togan has little story at all. But that doesn’t mean lack of content.
10/16/25 (Sun)
A monk wandering in the snow receives shelter in the home of a poor man. The man and his wife do their best to make their guest comfortable despite their straitened circumstances, providing a roof and humble millet and, most movingly, burning their prized potted trees for warmth, reminding me vaguely of La Bohème. (The title Hachinoki, or “The Potted Plants,” evidently implies a deeper container than the shallow dishes used in bonsai, but the concept sounds much the same.) The monk suspects from the man’s bearing and references to ancient poetry that something is amiss, and the man eventually confesses that he was formerly a samurai whose lands were unfairly usurped. He says that despite his troubles, he remains loyal to the shogun and would ride to his call even now if needed with his rusty armor, broken spear and weak horse. The monk, touched, encourages the couple as he takes his leave.
8/1/25 (Fri)
A recent retrospective of the work of French writer/director Alain Guiraudie in connection with his latest release, Misericordia (2024), resurrected this 2013 film. The isolated scenes that I had watched on Criterion seemed like gratuitous porn disguised as suspense, which dampened my interest, but recommendations from friends made me reconsider. Continue reading
7/21/25 (Mon)
I finally got around to seeing Henri-Georges Clouzot’s 1953 classic after enjoying the jaw-dropping US remake Sorcerer nearly a year earlier. This version was equally spectacular and intense but differed in certain ways (Friedkin always insisted that he based his film on the original novel).
7/18/25 (Fri)
Roger Donaldson’s 1987 film is the third official adaption of The Big Clock, the first of which I saw just a few weeks back. He takes significant liberties with the text – for one thing, there’s no longer a clock – but achieves a solid thriller.
sekenbanashi 