#yoshi sugihara

[byneddiedingo]

Twenty-Four Eyes (Keisuke Kinoshita, 1954)

Cast: Hideko Takamine, Chishu Ryu, Takahiro Tamura, Yumeji Tsukioka, Toshiko Kobayashi, Toshio Takahara, Shizue Natsukawa, Kumeko Urabe. Screenplay: Keisuke Kinoshita, based on a novel by Sakae Tsuboi. Cinematography: Hiroshi Kusuda. Art direction: Kimihiko Nakamura. Film editing: Yoshi Sugihara. Music: Chuji Kinoshita.

One of the most unabashedly sentimental movies you'll ever see, Twenty-Four Eyes may also be one of the most effective anti-war movies, without presenting bloody scenes of people being killed and maimed. Hideko Takamine plays Oishi, a young teacher who begins her career in 1928 on Shodo Island in the Inland Sea of Japan, teaching a first-grade class of 12 -- six boys and six girls -- the 24 eyes of the film's title. We follow her life, and through her point of view the lives (and some deaths) of her first pupils, for the next 18 years, as the world and the war encroach upon a peaceful, pastoral setting. Where Kinoshita's Morning for the Osone Family (1946) was claustrophobic in its presentation of life during wartime, Twenty-Four Eyes shows how the entrapment of people by war can occur in a place where there are no visible signs of the conflict. The natural setting remains undisturbed. No planes fly overhead, no bombs are dropped on the village, but the menace of war threatens the minds and hearts of the most vulnerable: the children Oishi teaches. The most chilling scenes are the ones in which young men are sent off to the war, as flag-waving crowds sing bloodthirsty tributes to the glory of dying in battle for their country. Kinoshita and cinematographer Hiroshi Kusuda reinforce the bitter irony by their restraint. They don't darken the atmosphere: It's the same lovely natural setting. Only the human beings in it have changed. I have to admit to feeling the movie is overlong, and that Kinoshita ladles on the pathos a bit too heavily. The cast weeps floods of tears, and the soundtrack features not only the Japanese folk songs that the children learn but also some old-fashioned Western parlor songs: "Annie Laurie," "The Last Rose of Summer," "Home, Sweet Home," "Auld Lang Syne," and, most curiously, "What a Friend We Have in Jesus."  But repress the cynic or the realist, and you may find it moving, too.

[sesiondemadrugada]

Blood Is Dry (Yoshishige Yoshida, 1960).

[palestarpowderworks]

Sleep tight, tiny lizard.

I really really need to level Noriko... Smol, sweet.

[leenaevilin]

[Announcement]  舞台 逆転検事 ~ 逆転のテレポーテーション (butai gyakuten kenji ~ gyakuten no teleportation)

the saien will start next month^^ (November 2nd, 2017 - November 7th, 2017)

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Cast:

Wada Takuma as Mitsurugi Reiji Arai Reira as Ichijou Mikumo Isogai Ryuuko as Itonokogiri Keisuke Hayashi Akihiro as Yahari Masahi Miyashita Yuuya as Chijou Yaichirou Kuge Megumi as Ooba Kaoru Shinagawa Shou as Takanashi Mamoru Tonoshiro Yuuma as Nakatori Motsuma Noguchi Mao as Houzuki Akane Kanade as Kurono Koyuki Shimomura Aya as Ukon Yoshie Ikeda Kenshin as Za Kanji??? Yonemaru Hinata as Shouji Shougo??? Koyama Shun as Baba Tomo??? Inoue Kaho as Ozaki Masshi??? Sugihara Isamu as Tenma Tsubaki Tomita Shou as Asukai Tomorou

[the-blank-kobe]

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[byneddiedingo]

The Face of Another (Hiroshi Teshigahara, 1966)

Cast: Tatsuya Nakadai, Machiko Kyo, Mikijiro Hira, Kyoko Kishida, Miki Irie, Eiji Okada, Minoru Chiaki, Hideo Kanzi, Kunie Tanaka. Screenplay: Kobo Abe, based on his novel. Cinematography: Hiroshi Segawa. Production design: Masao Yamazaki. Film editing: Yoshi Sugihara. Music: Toro Takemitsu.

Kobo Abe based the screenplay for The Face of Another on his own novel, and I suspect that adherence to the source weakens the film, which dwells heavily on ideas about identity and morality that are more efficiently explored in literature than in cinema. The central narrative deals with Okuyama (Tatsuya Nakadai) who, having been disfigured in an industrial accident, sees a psychiatrist (Mikijiro Hira) who devises an experimental mask that gives Okuyama an entirely new identity. Wearing the mask, Okuyama seduces his own wife (Machiko Kyo), who tells him that she knew who he was all along and assumed that he was trying to revive their marriage, which had been troubled since his accident. She is enraged when she learns that he was in fact testing her fidelity. But there is a secondary narrative about a beautiful young woman (Miki Irie) who bears scars along one side of her face that, it is suggested, are the result of exposure to radiation from the Nagasaki atomic bomb. In the novel, this story comes from a film that was seen by Okuyama, but Hiroshi Teshigahara withholds this explanation for including it without apparent connection to Okuyama's story. I'm not troubled by the disjunction this creates in the film, because Teshigahara and production designer Masao Yamazaki have developed a coherent symbolic style that creates an appropriate air of mystery throughout The Face of Another. The weakness lies, I think, in the dialogue, especially in the too didactic exchanges between Okuyama and the psychiatrist about the limits and potential of a mutating identity. Nevertheless, it's a fascinating, flawed film, more disturbing than most outright "horror" movies.

[byneddiedingo]

Haruko Sugimura, Mitsuko Miura, and Eitaro Ozawa in Morning for the Osone Family (Keisuke Kinoshita, 1946)

Cast: Haruko Sugimura, Toshinosuke Nagao, Shin Tokudaiji, Mitsuko Miura, Shiro Osaka, Eitaro Ozawa, Natsuko Kahara, Junji Masuda, Kinji Fujiwa, Eijiro Tono. Screenplay: Eijiro Hisaita. Cinematography: Hiroshi Kusuda. Art direction: Mikio Mori. Film editing: Yoshi Sugihara. Music: Takaaki Asai.

One of the myths of war is that the enemy moves in lockstep, from the commander-in-chief down to the lowliest citizen. So the image of World War II Japan as a monolithic force lingers, even though years of peace with the Japanese and a wholesale assimilation by the West of their culture, from sushi to anime, have effaced old hostilities. Keisuke Kinoshita's first postwar film, Morning for the Osone Family, gives us a valuable sense of the way things were -- or at least may have been -- for a Japanese family during wartime. Working in the year after the surrender of Japan, after ideological censorship had ceased (though the American occupation imposed its own censorship, which is why you'll find no mention of the atomic bomb in Japanese movies made just after the war), Kinoshita and screenwriter Eijiro Hisaita tell the story of a widow, Fusako (Haruko Sugimura), and her three sons, her daughter, and her brother-in-law in the waning years of the war. One son is imprisoned for writing against the war; the daughter is forced to break off her engagement to a young man because of the political implications of what her brother did; another son, a pacifist who wants to be an artist, is drafted and dies of pneumonia in a hospital; the youngest son, embracing the militarist propaganda, enlists and is killed. And then there is the domineering presence of the brother-in-law (Eitaro Ozawa), a colonel who despises the way Fusako has raised her children to doubt the glory of the Japanese military. When his house is destroyed by bombing, he moves in with the Osone family and takes over the household. Devastated by the surrender, he begins to stockpile food in their house, even as starvation spreads across the land. The film takes place on a single set, which only emphasizes the sense of a world closing in on the family. We might question how representative the Osone family is of the Japanese citizenry, but we could also question the accuracy of the "home front" movies made in the United States during and after the war.

[byneddiedingo]

Yukiyo Toake and Go Kato in Children of Nagasaki (Keisuke Kinoshita, 1983) Cast: Go Kato, Yukiyo Toake, Chikage Iwashima, Masatomo Nakabayashi. Screenplay: Keisuke Kinoshita, Taichi Yamada, Kazuo Yoshida, based on writings by Takashi Nadai. Cinematography: Kozo Okazaki. Art direction: Masataka Yoshino. Film editing: Yoshi Sugihara. Music: Chuji Kinoshita Keisuke Kinoshita was haunted throughout his life by the disaster that militarism inflicted on his country. His early film Morning for the Osone Family (1946) is a depiction of what one family, divided by its attitudes toward the war, went through during its waning years. Twenty-Four Eyes (1954), perhaps his best-known, is a sentimental yet oddly powerful anti-war film that takes place in a pastoral setting virtually untouched by bombing raids, yet deeply wounded by the conflict just over the horizon. Children of Nagasaki was one of his last films, and one of the few he made that directly confront the physical horror of the war. It's essentially a biopic of Takashi Nagai, a physician who survived the nuclear explosion in Nagasaki and devoted himself to writing about the event and its aftermath, using his training as a radiologist to document the effects of radiation. Most of Nagai's writing was censored by the occupation authorities and not published until after his death in 1951 from leukemia, with which he had been diagnosed before the bomb fell on Nagasaki.  In the film, Nagai (Go Kato) is at work when the bomb is dropped, killing his wife. His two children are in the country with their grandmother, and with her help he goes about the task of rebuilding their home and their lives. The film, which begins with scenes from the visit to Nagasaki by Pope John Paul II in 1981, is suffused with Nagai's Roman Catholic faith, and while it's not clear if Kinoshita shared Nagai's faith -- the director is buried in a Buddhist cemetery -- he treats it with deep respect, even reverence. Children of Nagasaki is an uneven film, a little too heavily didactic, as the literally preachy use of the pope to open the film suggests. Three-quarters of the way in, Kinoshita suddenly and clumsily switches to a narrator, Nagai's grown son, reflecting on the life of his father. But he makes one striking choice: not to depict the horrors inflicted on the people of Nagasaki by the bomb at the point in the narrative when they occur, but instead to show them at the end of the film in a flashback, reinforcing the point that such a story can't really have a happy ending.

[sesiondemadrugada]

Bitter End of a Sweet Night (Yoshishige Yoshida, 1961).

[sesiondemadrugada]

Bitter End of a Sweet Night (Yoshishige Yoshida, 1961).

[sesiondemadrugada]

Blood Is Dry (Yoshishige Yoshida, 1960).

[sesiondemadrugada]

Hokusai manga (Kaneto Shindô, 1981).

[sesiondemadrugada]

Kawaita hana (Masahiro Shinoda, 1964).

[sesiondemadrugada]

Kawaita hana (Masahiro Shinoda, 1964).

[byneddiedingo]

Tatsuya Nakadai in The Scandalous Adventures of Buraikan (Masahiro Shinoda, 1970) Cast: Tatsuya Nakadai, Shima Iwashita, Tetsuro Tanba, Shoichi Ozawa, Fumio Watanabe, Suisen Ichikawa, Masakane Yonekura, Jun Hamamura. Screenplay: Shuji Terayama, based on a play by Mokuami Kawatake. Cinematography: Kozo Okazaki. Art direction: Shigemasa Toda. Film editing: Yoshi Sugihara. Music: Masaru Sato. I think I was culturally ill-equipped for The Scandalous Adventures of Buraikan, a wittily stylized film that presupposes an acquaintance with Japanese history and culture that I don't possess. From my own culture, I bring a knowledge of 18th-century portrayals of London lowlife, such as the pictures of Hogarth and the satire in John Gay's The Beggar's Opera. Buraikan has echoes for me of those, as well as, in its portrayal of the puritanical reformer's zeal, Shakespeare's Measure for Measure. But for much of the film I felt at sea. That said, I like Tatsuya Nakadai so much I'd watch him read the Tokyo telephone book.