Category Archives: Film

The Servant (1963)

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  • The Servant

6/28/20 (Sun), Tokyo

Harold Pinter’s 1963 film script portrays a manservant (a superb Dirk Bogarde) who insinuates his way into the home of an apathetic upper-class gentleman (Tony Fox) and proceeds to turn the tables, the new guard displacing the old. It’s a familiar Pinter setup, unrealistic by any standards other than Pinter’s own plays. Pinter was already a highly bankable playwright at the time and did not appreciably change his cryptic theater-of-the-absurd style for the screen. Still, it’s done with great flair. The director of what seems a quintessentially British work is in fact an American, Joseph Losey, who was blacklisted in Hollywood in the McCarthy era and made his name in Europe. This was the first of several acclaimed films he made with Pinter.

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A Look Back: Le Placard (The Closet)

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  • Le Placard (The Closet)

5/17/20 (Sun), Tokyo

With bars (and shops and restaurants and theaters and on and on) shut down now by the coronavirus pandemic for far too long, I was worried about a friend who runs a drinking spot in downtown Tokyo. So I suggested hosting a movie night on the big screen in his bar just for his regular customers. He liked the idea and chose this film, figuring that a light comedy would be a safe bet for the trial run. I didn’t recognize the choice at first because of the bland Japanese title メルシィ人生！(“Merci, Life!”), which could apply to hundreds of films. If they couldn’t find an equivalent to The Closet (an exact translation of the French title), surely there was a more interesting alternative out there. Some in the bar speculated that the distributors may not have wanted to emphasize the gay part when the movie debuted in 2001, but this is not, after all, a gay film – the gay angle is played for laughs if anything. I wonder if their obtuseness actually hurt the film’s commercial appeal. In any case, after weeks of watching movies at home, I really enjoyed being with a group of people laughing at the same film. I’m ready to get back to the movie theaters, and I suspect I’m not alone.

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Mishima

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  • Mishima

5/3/20 (Sun)

Paul Schrader’s 1985 film biography is to this day not available in Japan despite being entirely in Japanese and featuring some noted Japanese stars. Mishima is known for his extreme conservative views, but his criticism of Emperor Showa for renouncing his godliness (Mishima felt that this meant that Japanese soldiers went to war for nothing) was a step too far even for his fellow far-rightists, who do not take well to any bad-mouthing of the imperial family. Mishima’s works are one thing, but a story about his life, which must inevitably deal with the circumstances of his self-disembowelment, is politically an untouchable subject – and the right wing in particular can be very unpleasant about these things. Mishima’s widow was also upset by the references to Mishima’s homosexuality, which she was not entirely able to purge from the film. So I was surprised at a friend’s house to find a copy of the DVD that had been purchased in the US, which I promptly borrowed.

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Silence (沈黙) (1971 film)

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  • 沈黙 (Silence) (1971 film)

4/30/20 (Thurs)

Shinoda Masahiro’s film adaptation of 1971, just two years after the novel was published, was supposedly co-written by the novelist Endo Shusaku, but I have to wonder how much he contributed given the way the movie veers from the book in some important respects, especially the ending. It follows the general contour of the story fairly straightforwardly, but gives precedence to the drama over the religious and philosophical themes at the heart of the tale. That makes an interesting contrast with Scorsese’s 2016 remake, which had greater sweep (and clearly a budget to match) and delved more deeply into the priest’s struggle with his beliefs.

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Parasite

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  • Parasite

12/27/19 (Fri)

Did the reviewers see the same movie I did? This Korean film has won rhapsodic praise as a social satire and is being talked about as an Oscar candidate, but it seemed to me an overblown attempt at farce relying on impossible situations and questionable characterizations.

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A Story of Floating Weeds (1934); Floating Weeds (1959)

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  • Floating Weeds (浮草, 1959), 12/1/19 (Sun)
  • A Story of Floating Weeds (浮草物語, 1934), 12/10/19 (Tues)

I was set to see Ozu Yasujiro’s 1934 silent version of this film, so I figured I’d first check out his 1959 remake, which adds not only sound but color. They both proved very fine films, and despite a nearly identical composition and story progression, seeing them side by side was instructive. Continue reading →

The Ball at Anjo House (安城家の舞踏会)

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  • 安城家の舞踏会 (The Ball at Anjo House)

10/27/19 (Sun)

Having recently seen the fun An Osaka Tale, I wanted to check out more of director Yoshimura Kozaburo’s work, and this was an obvious first stop. It is often held to be one of the finest of all Japanese films of the 1940s.

The 1947 film is a Chekhovian portrait of an aristocratic family unwilling to face their decline in postwar society. This is not a traditional Japanese household: it is a formerly titled family living in a palatial Western-style home with a father who studied painting in Paris, a son who plays classical piano and a daughter who (at least in the course of the film) wears only Western clothing. The family appears to have lived in the past mainly off its inherited wealth and property. But times have changed: it survived the war by borrowing money from a slimy businessman who profited in the munitions trade by using the family name, and is now facing collapse in the wake of land reforms, the abolition of the aristocracy and new taxes enforced by the Occupation government (still in power when the movie was made). Continue reading →

Rage (怒り)

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  • 怒り (Rage)

10/17/19 (Wed), Tokyo

Lee Sang-il’s 2018 film opens with the murder of an innocent couple in their own home by a drifter, who paints the character for “rage” (怒) on their wall before escaping. This is followed by three unrelated stories in Tokyo, Chiba and Okinawa featuring drifters who could all conceivably be the killer. The film is on the surface a suspense tale keeping us guessing which one is the villain, but its real theme involves the nature of trust and mistrust – “Doubt” would actually be a better title than “Rage”, which doesn’t quite make sense in context. Continue reading →

An Osaka Tale (大阪物語)

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  • 大阪物語 (An Osaka Tale)

10/13/18 (Sun), Tokyo

A highly entertaining piece of 1957 devised by Mizoguchi Kenji from a 17th-century tale and ably taken over after his death by Yoshimura Kozaburo. It was reminiscent of Mizoguchi’s Chikamatsu Story: the lead was a stingy businessman ultimately undermined by his own stubbornness, and Kagawa Kyoko was a put-upon daughter who gets the poor clerk in the end. But this was a comedic approach to the material, which, though not as deep, worked wonderfully on its own terms.

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Every Day a Good Day (日日是好日)

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  • 日日是好日 (Every Day a Good Day)

10/12/18 (Sat), Tokyo

A beautiful meditative film of 2018 whereby the tea ceremony (“the way of tea”) serves as a metaphor for several zen-based ideas: that the meaning of things becomes evident only over time, that we should feel rather than analyze, that we should enjoy every instant in life as an experience that will never occur again.

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Carmen Comes Home (カルメン故郷に帰る)

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  • カルメン故郷に帰る (Carmen Comes Home)

10/11/18 (Fri), Tokyo

Kinoshita Keisuke’s hit film of 1951 was Japan’s first full-length color film, and the director reportedly created the plot around the need to film much of it outside for technical reasons. Continue reading →

Farewell to Spring (惜春鳥)

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  • 惜春鳥 (Farewell to Spring)

7/30/19 (Tues)

Kinoshita Keisuke’s (Twenty-Four Eyes, Like a Wild Chrysanthemum) 1959 Farewell to Spring — the poetic Japanese title refers to a bird that awakens wistful memories of spring, i.e., lost youth — has been called Japan’s first gay movie, but that definition would have to be stretched fairly liberally. One man’s return to his hometown after university spurs the old gang of five to get back together, a reunion that proves bittersweet.

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