Madame Butterfly (1915 silent film)

  • Madame Butterfly (1915 silent film)

2/1/22 (Tues)

I realized after writing about the Fritz Lang Butterfly that I never posted this review of the older silent version of the opera. I found this film by chance online when doing research for my Kabuki version of Butterfly [which finally debuted in Dec 2024]. The only names I recognized were Mary Pickford in the title role and David Burton as a Japanese prince who wants to marry her – casting that wouldn’t go over well today.

The story is taken broadly from the opera but changed in significant ways. The biggest difference is that Butterfly is not a geisha for hire but the daughter of a well-to-do family, which changes the dynamics considerably. Continue reading

Hero of the Red Light District (妖刀物語:花の吉原百人斬り)

  • 妖刀物語:花の吉原百人斬り (Hero of the Red Light District)

12/6/24 (Fri)

Uchida Tomu’s 1960 film draws liberally from the much-revived Meiji-era Kabuki classic Kagotsurube (1888), the story of a lonely pockmarked man whose desperation to be loved makes him an easy mark for unscrupulous people, leading ultimately to tragedy. (The Kabuki was itself based on a real-life incident.) Uchida veers from the popular tale in significant ways that make for an interesting study. A more literal translation of the Japanese title would be something like, “The Story of the Haunted Sword: Glittering Yoshiwara and the Mass Slaying”. (Hyakunin-giri or “mass slaying” literally means slashing 100 persons but is simply meant to indicate a large number of people. The phrase is known for its unfortunate use as a killing contest during Japan’s invasion of China, about which the less said the better. More happily, it can also be a sexual term meaning to bed dozens of people.) The English title is lame: the guy is no hero, and the story involves a street prostitute thrown into the world of courtesans, not quite a red light district.

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Fritz Lang’s Harakiri / Madame Butterfly (1918 silent film)

  • Fritz Lang’s Harakiri / Madame Butterfly 

11/24/24 (Sun)

I was surprised to find a foreign film called Harakiri at all given Kobayashi Masaki’s masterwork by the same English title, but this was in fact a silent German film made in 1918, when Europe was still in the midst of its Japonisme boom. On top of that, it’s based explicitly on Puccini’s Madame Butterfly, which debuted just a few years earlier (the US release used the opera title rather than the more sensational German title). It follows a US silent Butterfly film with Mary Pickford by just three years and is one of the earliest surviving works by the great Fritz Lang. I initially watched a poorly preserved hour-long version online but found a better 90-minute version the next day and re-watched it.

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Seisaku’s Wife (清作の妻)

  • 清作の妻 (Seisaku’s Wife)

11/2/24 (Fri), Tokyo

This 1965 work was being shown at the Tokyo Film Festival as part of a tribute to director Masumura Yasuzo on the 100th anniversary of his birth. It is the time leading up to the outbreak of war with Russia in 1904. The attractive Okane (Wakao Ayako) has been forced by her desperately poor family to serve for the past three years as mistress to a wealthy but much older man. When he dies and leaves her a small fortune, she returns with her mother to their old village. Unfortunately the villagers, partly jealous of Okane’s newfound wealth, deride her for having sold her body, however unwillingly, and refuse to have anything to do with her. She, in return, makes no attempt to ingratiate herself with them or help with the village work.

Meanwhile, Seisaku (Tamura Takahiro), a local lad, returns from military service in China and is hailed as a hero. Wartime fever has infected the entire village, which sees serving and dying as a glorious act. Seisaku, determined to improve village morale, has forged a large bell that he clangs early each morning to rouse the people to work. They reluctantly do so in deference to him.

Okane, however, ostracized in any case, refuses to play along. This intrigues Seisaku, and slowly but surely they come to fall for each other. Continue reading

Wolves, Pigs and Men (狼と豚と人間)

  • 狼と豚と人間 (Wolves, Pigs and Men)

11/1/24 (Fri), Ginza

Fukasaku Kinji’s stellar 1964 work was being shown at the Tokyo Film Festival in a pristine copy in honor of what would have been its star Takakura Ken’s 100th birthday. A violent, relentlessly driving film about three low-life brothers from the slums who become involved on different sides of a dangerous scheme that could be their salvation – or their death warrant. Continue reading

Orochi (雄呂血)

  • 雄呂血 (Orochi)

10/31/24 (Thurs)

This silent film of 1925 apparently broke barriers by presenting an antihero fighting the corruption of the ruling class as opposed to the good samurai defending the masses. The video online has excellent Japanese narration by a professional benshi narrator, which I listened to briefly. But benshi tend to add their own commentary and imagined dialogue; silent films were not made with the assumption of any specific narration and, with the intertitles, are (or should be) perfectly understandable as is. I ended up turning the sound off, which worked just fine. The movie does rely too much on expository intertitles, some of which are very long and hard to read (at least on a television). Thank goodness for the English subtitles.

The title Orochi is not the serpent of Kabuki fame. Though it’s the same word in English, the characters here are a strange mix of unrelated kanji, apparently chosen at random (for instance, the middle character ro is simply part of the screenwriter’s name) when the authorities objected to the original Buraikan or ruffian (often mistranslated in the West as outlaw). The odd word presumably perplexed them enough to let it pass. The film was the first to be produced by the production company set up by its star, former Kabuki actor Bando Tsumasaburo, though it was the second one released. The actor, known popularly as Bantsuma, must have liked it: it’s the only of the 200+ films in which he appeared that he kept the original negatives. And what a film.

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Noh: Aritoshi, Funa Benkei (蟻通, 船弁慶)

  • Noh: 蟻通, 船弁慶 (Aritoshi, Funa Benkei)

3/27/24 (Sun), Tokyo

The two shows today represent, perhaps unintentionally, the oldest and newest strands of Noh, the first written in the art’s infancy and the other toward its final flowering. In addition to the virtues of the separate pieces, the comparison of the two was instructive.

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Tetsuo, The Iron Man (鉄男)

  • 鉄男 (Tetsuo, The Iron Man)

10/19/24 (Fri)

Tsukamoto Shinya’s (Shadow of Fire) surrealistic 1989 horror fantasy about… actually, I’m not sure what it’s about, but it involves a man, a woman and a male hit-and-run victim who gradually turn into machines. I think. Continue reading

Evil Does Not Exist (悪は存在しない)

  • 悪は存在しない (Evil Does Not Exist)

9/11/24 (Wed)

Hamaguchi Ryusuke’s (Drive My Car) latest. Small-town folk deep in the Nagano countryside lead a hard-scrabble life in their beautiful natural setting, their basic needs met thanks to the wealth of resources in the area. The main character, a widowed father of a teenaged girl, spends his time chopping logs and gathering water, often so absorbed that he forgets to pick up his daughter from school. A company is eyeing the spot for a gramping site in order to take advantage of soon-to-expire pandemic subsidies. It employs a television talent agency to give a presentation to the local population in what it sees as a mere formality. However, the locals prove less pliant than anticipated. Continue reading

Street Without End (限りなき舗道)

  • 限りなき舗道 (Street Without End)

8/31/24 (Sun)

Naruse’s 1934 drama, set in contemporary Tokyo, was his final silent film. Sugiko is a waitress in a pancake shop in Ginza. (Pancakes must have been the latest thing; patrons seem to have trouble figuring out what to do with the spot of butter on top.) She receives a marriage proposal from her poor but kind boyfriend, who is under pressure from his family to marry a girl arranged for him back home. Sugiko, pressed to make a decision, wanders carelessly into the path of a chauffer-driven car. That car belongs to Hiroshi, the handsome heir to an upper-class family, who takes her immediately to the hospital. Her boyfriend sees them together and, assuming she has rejected him, leaves town.

Hiroshi eventually falls in love with Sugiko and begs her to marry him in a romantic setting backed by Mt. Fuji. She is uncertain given the difference in their class, especially with the disparaging attitude of his mother and sister, who make no effort to hide their disdain. Still, the thought of a life of financial security and Hiroshi’s undeniable sincerity prompt her to give in to his persistence. The family has no choice but to agree.

As feared, however, the gulf between her and the family proves deep despite her best efforts. Continue reading

Every-Night Dreams (夜ごとの夢)

  • 夜ごとの夢 (Every-Night Dreams)

8/10/24 (Fri)

Naruse’s 1933 melodrama, one of his final silent films, already picks up on his much-visited theme of a woman forced to support herself due to weak or duplicitous men. Here, it is the former. Continue reading

Air Doll (空気人形)

  • 空気人形 (Air Doll)

6/30/24 (Sun)

Koreeda’s 2009 flick, an oddity in his ouevre, is on the surface about the life and death of a blowup sex doll. But it proves much more than that. (Air Doll is a literal translation of the Japanese title. Trivia: non-inflatable plastic sex dolls in Japan are known as Dutch wives, which my American friend never tired of mentioning to his Dutch wife.)

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