I see where the stage adaptation of the popular anime film Spirited Away that played in Tokyo a few years back has transferred with the original cast to London, performing in Japanese (with English surtitles). I noted at the time that the Tokyo production seemed a “trial run” for a future production in the more profitable theater worlds of London or New York given the foreign talent involved, starting with director John Caird (whose wife is Japanese). The show appears to have received a rapturous welcome in London by both critics and audiences despite the language barrier and will be playing for an unusually long stay of four months. With London’s recent wonderful English-language staging of that other Japanese anime classic, My Neighbor Totoro (soon headed for the West End), the stage may be set, so to speak, for a flood of other anime adaptations, which have already taken Tokyo by storm in musical, Kabuki and other versions. Here is my take from the Tokyo run.
Category Archives: Japan
Forever a Woman (乳房よ永遠なれ)
- 乳房よ永遠なれ (Forever a Woman)
3/3/24 (Sun)
This 1955 work is Tanaka Kinuyo’s third directorial effort but the first that she started from scratch. (The first two were based on scripts by Kinoshita and Ozu and staffed partly by their assistants.) The film was formerly known in English rather startlingly as The Eternal Breasts, which is closer to the Japanese but makes it sound like a very different kind of film; the Japanese title would probably be rendered better as, “Breasts, Be Forever With Me”. The change in the English in this case was probably for the better. The real-life Fumiko was only famous for four months from publication of her efforts to her early death, but she is considered one of Japan’s three seminal female poets of the 20th century. She passed away only a year before the film. Continue reading
Love Letter (恋文)
- 恋文 (Love Letter)
3/2/24 (Sat)
This 1953 work marked actress Tanaka Kinuyo’s debut as director, using a script by Kinoshita Keisuke. This is the first fictional film by a female director in Japan.
Okiku and the World (せかいのおきく)
- せかいのおきく (Okiku and the World)
2/25/24 (Sun)
When you hear a movie is about two guys peddling sh*t, you’d normally assume they were selling trivial products. But the guys in this movie are in fact dealing in excrement – and we learn that their job was an essential function in Edo society. Who knew?
The time is the mid 19th century at the tail end of the Edo Era, when the entire system of government is about to be overthrown – but the characters here don’t know that. Yasuke is a purveyor of manure, buying the product from homes (after digging it out of the outhouse pits) and selling it to farmers. The latter need the waste as fertilizer to grow food, which is eaten and processed through people’s bodies as new waste product in a virtuous cycle for the likes of Yasuke. The gathering and reprocessing of waste served a critical role in Edo in keeping the villages clean; while Yasuke was dirt poor and at the absolute bottom of the social rung, he was actually more important in the scheme of things then the higher-ranking samurai, who received money from the state for doing very little.
Bunraku: The Sake Shop, The Returning Palanquin (酒屋、戻駕)
- Bunraku: 酒屋、戻駕 (The Sake Shop, The Returning Palanquin)
2/11/24 (Sun), Tokyo
Bunraku has been homeless in Tokyo since the closure of the National Theater last October, leaving it to wander among venues. Today’s venue, a 1,249-seat theater, is way too big for puppets (the NT had around 800 seats), but I’ll take what I can get. They chose an audience-friendly three-part program of classics at just two hours or so each, a smart change from the usual two-part show of 4-5 hours each. This was the day’s second pairing. Continue reading
Noh: Basho, Mochizuki (芭蕉、望月)
- Noh: 芭蕉、望月 (Basho, Mochizuki)
9/30/23 (Sat), National Noh Theater (Tokyo)
Basho: A dialogue-heavy show by Zenchiku with an unusually beautiful text. A monk in rural China meets a woman who, overhearing him read from the Lotus Sutra, wants to discuss Buddhist precepts. He doesn’t allow her in his hut at first since women are normally prohibited, but gives in when she notes that they live in the same city and draw water from the same river, suggesting a karmic connection.
She turns out to be the spirit of a plantain tree (basho), a plant with large and particularly delicate leaves. They discuss how even non-sentient objects such as trees (“even women and heartless plants,” according to one translation) can attain salvation. Continue reading
Perfect Days
- Perfect Days
1/28/24 (Sun)
Shibuya Ward (which encompasses Shibuya, Harajuku, Aoyama and other Tokyo hot spots) had apparently approached Japanophile Wim Wenders to make a documentary on its clean public toilet project, the Tokyo Toilet, which has installed some innovative and attractive facilities throughout the district (many of which I’ve used). Wenders decided to turn this into a piece about a devoted public worker, allowing him to show the facilities as background for something more profound.
The Discarnates (偉人たちとの夏)
- 偉人たちとの夏 (The Discarnates)
1/26/24 (Fri)
I wanted to see Obayashi Nobuhiko’s 1988 adaptation of Yamada Taichi’s best-seller before the acclaimed UK remake, All of Us Strangers, arrives here in the next few months. The Japanese version’s unusual English title refers to a being that does not have a physical body, basically a fancy word for ghosts. That seems to give the game away; I prefer the Japanese title, literally “Summer with Strangers”. The Japanese film is described as a horror story.
*Spoilers Ahead*
Kuroneko (藪の中の黒猫)
- 藪の中の黒猫 (Kuroneko)
1/9/24 (Tues)
Shindo Kaneto’s 1968 horror film is less scary than it is spooky and moody. It takes place in Kyoto near Rajomon (known later as Rashomon), the massive gate that had become a dilapidated structure by the late Heian Period when, judging from the clothing and the presence of Lord Raiko, the movie is set. The gate was by this time known as a haunted spot good for disposing of corpses and unwanted infants. (The film’s full Japanese title, “Black Cat [or Cats] in a Grove”, perhaps intentionally recalls Akutagawa’s short story In a Grove that was the basis for Kurosawa’s Rashomon. I’m not sure why they chose Kuroneko as the English title rather than the translation, Black Cat.) Cats are supernatural beings in Japanese folklore in the form of “bakeneko” (ghost cats), so the notion of felines lurking somewhere in the woods immediately signals something shadowy.
The Song Lantern (歌行燈)
- 歌行燈 (The Song Lantern)
11/26/23 (Sun)
A 1943 film by Naruse based on a novel by early 20th-century author/playwright Izumi Kyoka (which has the much more evocative English title A Song by Lantern Light). Izumi’s fantasy contents wouldn’t seem an ideal subject for the more grounded Naruse, but maybe the apolitical subject matter was a way for the director to get around wartime restrictions and censorship. The film opens ominously with an exultation for the “100 million to carry the burden for bereaved households” (i.e., homes whose sons have died in battle), but the story thereafter is completely war-free. The Noh-based story has similarities with Mizoguchi’s Kabuki-based Story of the Last Chrysanthemums (1939), and while it does not reach those heights, it has its moments. Hanayagi Shotaro repeats his lead performance from the stage version, where it became one of his signature roles.
Battle Royale (バトル・ロワイアル )
- バトル・ロワイアル (Battle Royale)
11/19/23 (Sun)
Fukasaku Kinji’s 2000 cult classic about kidnapped high schoolers with a mission to kill is like a manga on speed. Fukasaku is best known for Battles Without Honor and Humanity, where the violence is grounded in reality of a sort. He abandons any semblance of reality here to give us a head-spinning series of murders, suicides and humiliations as the plot itself – the violence is the film’s entire reason for being.
That said, he manages to create unique and sympathetic characters who, despite the ridiculous plot, largely feel real within the world they’re given. Continue reading
Shadow of Fire (火影)
- 火影 (Shadow of Fire)
11/9/23 (Thurs)
The latest overwrought work by provocateur Tsukamoto Shinya. The Foreign Correspondents Club was showing a subtitled version for the overseas press, and free sounded like the right price. That proved optimistic. There was an after-talk by the director (who produces his own films – no one else will), but we opted for dinner instead.
sekenbanashi 