Friday, May 29, 2009

Viz Pictures to open a movie theatre dedicated to Japanese films in San Francisco

by Chris MaGee

If you live in the San Francisco area and you're a fan of Japanese cinema then you are in for a very, very big treat this summer. According to a post at Hoga Central a movie theatre dedicated entirely to Japanese films will be opened at 1746 Post Street in San Francisco's Japantown on August 15th! The muscle behind the brand new theatre, dubbed New People, comes from Seiji Horibuchi, the founder and CEO of San Francisco-based distributor Viz Pictures, the same folks who've brought out Shusuke Kaneko's "Death Note", Katsuhito IUshii's "Funk Forest: The First Contact", Yukihiko Tsutsumi's "Happily Ever After", amongst many others on DVD here in North America. New People won't just be a a movie theatre though. The 20,000 square foot, $15 million facility will also house shops a restaurant and a gallery all with the goal in mind to have New People be "a dedicated platform to foster the appreciation, preservation and exposure of Japanese popular culture and to connect the public with its creators."

With Viz Pictures already having made their one and two night North American theatrical releases of their new DVD titles a huge success this new theatre seems like the next logical step in their evolution. Congratulations to Viz and the people of San Francisco on this wonderful new facility. It will certainly give us Japanese film fans even more impetus to make a trip to the City on the Bay.

REVIEW: Kingyo


金魚 (Kingyo)

Released: 2009

Director:
Edmund Yeo

Starring:
Rukino Fujisaki
Takao Kawaguchi

Amane Kudo

Running time: 25 min.





Reviewed by Marc Saint-Cyr


Edmund Yeo is a young filmmaker who was born in Malaysia and currently lives in Tokyo . He has found success as a producer, writer and director for various film projects since 2006, most notable among them being his 2008 short "Chicken Rice Mystery", which was recognized with an Honorable Mention and a Best Acting award (for star Kimmy Kiew) at that year’s BMW Shorties festival. His latest effort is "Kingyo", a 25 minute film based on the renowned Yasunari Kawabata’s 1924 short story "Canaries". It opens on an evening in the Akihabara area of Tokyo where a young woman (Rukino Fujisaki) dressed in a French maid’s outfit advertises guided tours for ¥10,000 to passersby. After a few unsuccessful minutes, she faces an older man (Takao Kawaguchi); he is a professor who once shared a relationship with her that ended some time ago. Paying her, he asks for a tour, and they begin to slowly walk together through the city.

So begins a calm, atmospheric rumination on lost love that, as most great short films do, acts as more of a visual poem than a story. The two characters don’t converse so much as he makes a sort of confession to her, gradually revealing the true nature of their previous relationship and how it was complicated by a third figure: the man’s wife. This love triangle is represented by a pair of goldfish that get passed between the three characters, ultimately serving as significant symbols of affection and infidelity alike.

Easily the most remarkable feature of the film is its use of split-screen. I have long been of the opinion that such methods as multi-frame composition signify the next logical step in furthering the creative potential of the cinematic medium, with Canadian director Bruce McDonald’s "The Tracey Fragments" serving as a winning example of such experimentation in narrative film form. While that film often uses several images on the screen (arranged and edited in often complex patterns), Yeo keeps it to a maximum of only two at once for "Kingyo", but even then, the benefits of this stylistic choice are clearly seen. Its effectiveness simply comes from the way various shots play off of each other when juxtaposed on the same screen, communicating both their own meanings and different ones altogether when considered in relation to one another. Because of this element, composition and editing take on a new importance and yield more creative rewards for both the filmmaker and the viewer, and surely enough, Yeo’s careful control over the split-screen technique in his film creates a fascinating dynamic that, with the right cuts and selection of images, speaks volumes through purely visual means.

What especially makes "Kingyo" a success is how its experimentation never reduces it to a chilly or pretentious aesthetic exercise, but instead remains constantly in service to its characters and their emotional states. Often, the professor and the young woman will inhabit the same space, yet they are nonetheless isolated through the split screen. There is also the scene on a bridge overlooking Akihabara, with special attention given to the two characters’ hands resting close to each other on a railing. Through such moments in the film, Yeo clearly focuses on the distance that can grow between two people, be it in the case of the man and his wife or him and his mistress.

On top of being emotionally poignant and artistically daring, "Kingyo" is absolutely gorgeous to look at, providing a generous feast for the eyes. The obvious standout is the nocturnal realm of Akihabara, a bright, colorful wonderland that brings to vivid life the mythical, romantic Tokyo of people’s imaginations. In stark contrast are the daytime sequences captured in Inokashira Park and the wife’s home, colored with pale blues and stark whites. And throughout the entire film, the two goldfish are prominently featured, their brilliant orange bodies seeming to embody the strong passions and conflicting feelings felt by the reserved characters.

Made in the vein of Hirokazu Kore-eda and Wong Kar-Wai (Yeo has said that he would often put on "In the Mood for Love" for inspiration while editing), "Kingyo" is a rich and stunning film that chooses to approach emotionally complex themes from a strictly cinematic standpoint and emerges triumphant. It is yet another great achievement for Edmund Yeo and a strong indicator of his considerable talents. Audiences, take note: this budding filmmaker is one to keep an eye on over the next few years, and I personally can’t wait to see more of his work.

Read more by Marc Saint-Cyr at his blog.

Akira Kurosawa’s “Kagemusha” to be released on Criterion Blu-ray

by Marc Saint-Cyr

Back in April, we reported two unfortunate bits of bad news surrounding the Criterion DVD of “Ran”, one of Akira Kurosawa’s greatest films: that its upcoming Blu-ray release had been canceled due to a “rights issue,” and that the regular DVD had been designated as out of print. While there is no change in either of those areas regarding that film, it seems Criterion is offering Kurosawa fans something of a compensation for the setbacks by giving them a Blu-ray release of “Kagemusha” due on August 18th. That work, also a large-scale epic set in feudal Japan , is well known as Kurosawa’s “practice run” for the project that would eventually become “Ran.” So while people will at least have to wait longer before something, if anything, happens on the “Ran” front, at least admirers of the Emperor’s work (particularly his glorious color films) can find solace come August when they slip their Blu-ray “Kagemusha” discs into their players and bask in a high-def world of horses, flying banners and scores of armed samurai warriors.

Will "Rookies: Sotsugyo" be Japan's biggest box office hit of 2009?

by Chris MaGee

Last year saw some very popular Japanese TV series making the the transition to very popular films. Both "Hana yori Dango" and "Partners (Aibô: gekijô-ban)" were adapted to the big screen and ended up raking in billions of yen at the Japanese box office, making them two of the biggest Japanese films of 2008. Now that 2009 has almost reached the halfway point it begs the question; what will the big TV-to-film adaptation will be this year's blockbuster hit? Most industry insiders are betting that "Rookies: Sotsugyo" will be the film that will really hit it out of the park. Based on the highly rated TBS series about a high school literature teacher (Ryuta Sato) who takes a rag tag group of thugs and under-achievers lead by a boy named Keiichi (Hayato Ichihara) and turns them into a successful baseball team, the film will follow the boys as they make the jump from their school's baseball diamond to the big leagues.

"Rookies: Sotsugyo" is set to open this weekend in Japan, but already the buzz has already far exceeded everyone's expectations. At a promotional event held by Toho 12,000 fans of the series packed Yoyogi National Gymnasium in Tokyo to catch a glimpse of the film's stars, and 240,000 advance tickets have already been sold, a number that smashes last year's record set by "Hana yori Dango: Final". Frankly, Japan is baseball mad, so it doesn't surprise me at all that "Rookies" is gearing up to be one of if not the blockbuster success this year.

Check out the trailer for "Rookies: Sotsugyo" below, and thanks to Tokyograph for the details on this.

The works of indie/ avant-garde master Kanai Katsu finally available on DVD

by Chris MaGee

Kanai Katsu may not be a name that many of you are familiar with and I won't try and puff myself up by saying that I am . I'm not, but after reading this post at Aaron Gerow's Japanese film website I have to say I am very, very intrigued.

Born in 1936 in Kanagawa Prefecture Katsu went on to study at the Department of Film, Faculty of Arts at Nihon University in Tokyo and after graduating in 1960 he joined Daiei Studios as a cameraman. There he worked under legendary filmmaker Teinosuke Kingasa, the director of such seminal silent films as "A Page of Madness" and "Crossroads". Katsu's independent spirit wasn't accustomed to working within the structure of the studio system though, so four short years after joining Daiei he left to go freelance. He continued to work on various commercial productions but in 1968 he founded his own company, Kanai Katsumaru Production and in the next few years he ade a trilogy of films that would fascinate, confuse and shock the cinematic establishment. Influenced by his interests in existential philosophy and surrealism Katsu's "Smiling Milky Way Trilogy", made up of 1969's "The Desert Archipelago" (above), 1971's "Good-bye", and 1973's "The Kingdom", would end up receiving praise from the likes of film scholars Max Tessier and Tony Rayns and would win honours at the Nyon International Film Festival where "The Desert Archipelago", about a man raised by nuns, would take home the Grand Prix in 1969. In more recent years Katsu has split his time between teaching at both Tokyo Zokei University and the Image Forum Institute of the Moving Image and making short surreal films based on the Japanese poetic forms of tanka and haiku.

Despite his influence and critical success Katsu's works have never gained the same kind of mainstream acknowledgement as his avant-garde peer Shuji Terayama, but now Katsu himself has assembled his entire filmography into a limited edition 5-disc DVD set titled "The World of Kanai Katsu" that's he's selling through his personal website for ¥20,000 yen a copy (roughly $230.00 CAD). It might seem steep, but not only are these discs region free, but they all have English subtitles! For something this rare I think that's a deal.

If you're unconvinced, but are a fan of Terayama, late period Seijun Suzuki and avant-garde video artist Takahiko Iimura then check out this trailer for "The World of Kani Katsu" below and I'm sure you'll start thinking of ways to save up a couple hundred dollars.

REVIEW: Detective Bureau 2-3: Go To Hell Bastards!

探偵事務所23くたばれ悪党ども
(Tantei jimusho 23: Kutabare akuto-domo)

Released: 1963

Director:
Seijun Suzuki

Starring:
Jo Shishido

Reiko Sasamori
Naomi Hoshi
Tamio Kawaji
Yuko Kusunoki

Running time: 89 min.

Reviewed by Bob Turnbull


Rat-a-tat pulsing snare drums blast out of the speakers, scantily clad dancers jiggle around a Christmas tree and Jo Shishido smirks while holding a large machine gun like weapon...And that's just the menu of the DVD. Even better is that "Detective Bureau 2-3: Go To Hell Bastards!" delivers fully on this immediate promise.

Done around the time that director Seijun Suzuki began pushing his boundaries, but before he abandoned the idea of straight narrative, Kino's recent release of this 1963 Nikkatsu "detective infiltrates gang" story moves at a good clip. By giving just enough information to the viewer, the film keeps you in the loop, but also forces you to always be on your toes if you want to stay there. Because of that, it seems hardly worth it to describe the plot - it's doesn't really matter to a certain extent and there's nothing revelatory about it - so just know that you'll get gun battles, women in distress, tough talking yakuza, operatic death scenes and a jazzy, 50s rock 'n roll score. The key to the film is in its presentation. Things like visual cues, lighting schemes and character framing are always giving additional information while the quick pace, great looking colours, broad acting and the music firmly state - above everything else - that there's a sense of fun that will last throughout the movie.

To give some grounding to the story though, Shishido plays a detective offering his services to the local police. There's been a gangland mass slaying with a single surviving witness and Shishido thinks that he's the right man to go undercover. Shishido plays it ultra-cool (and drives a wickedly great little white sports car), but not so much that he can't do some additional mugging on occasion for the camera. He even participates in one of the four musical numbers that crop up during the various club visits made by the gang members. Through some of this goofiness, Suzuki manages to gently poke some fun at the genre itself while also using many of its own conventions.

Another distinguising characteristic of many of these films is the ability to sneak in some cultural commentary amongst all the schizophrenic goings-on. Whether it's the American style music, the large U.S. planes the camera lingers on as a car drives by the airport or many of the tropes of American crime thrillers being reused (and also slightly mocked), there's a definite sense of a struggle to find where Japan's own identity fits in. To do that while also stretching (and even redefining) a well-worn genre and keeping an audience highly entertained is a pretty grand feat. My appreciation of Suzuki continues unabated...

Read more from Bob Turnbull at his blog.

Yoji Yamada's "Kabei: Our Mother" gets a Quicktime trailer and a North American release

by Chris MaGee

Here's a North American release that came in under the radar. Apple Trailers is currently hosting a gorgeous Quicktime trailer for Yoji Yamada's critically-praised 2008 film "Kabei: Our Mother" that opened in select cities last Friday, May 22nd care of the folks at Strand Releasing. Based on Akira Kurosawa's longtime collaborator and script supervisor Teruyo Nogami's memoir of growing up in Tokyo during the Second World War "Kabei" tells of the hardships endured by Nogami's mother Kayo (Sayuri Yoshinaga) while trying to keep her family together after her husband is arrested for being a suspected Communist. Kayo is helped in her struggle by her sister-in-law, played by Mirai Shida, and an old student of her husband's, portrayed by Tadanobu Asano.

Check out the trailer at Apple here and then check your local listings. Hopefully you will still be able to catch this one on the big screen before it's inevitable DVD release.

Weekly Trailers

Of Monster Mode - Yuya Ishii (2008)

Don't let the laughs in the trailer for Yuya Ishii's "Of Monster Mode" fool you. There may be a lot of zany humour, but at the film's heart ays the story of the dissolution of a marriage. The relationship between Junko and Kiichi has been strained to the breaking point after the death of their son. Kiichi ends up leaving and having an affair while Junko decides the best revenge is to start seeing her husband's friend, a baker who wears a green martian costume to attract people to his bakery.




Blood: The Last Vampire - Hiroyuki Kitakubo (2000)

There's been a lot of buzz about Chris Nahon's live-action adaptatioon of Production I.G.'s "Blood: The Last Vampire", so we thought it was time to take a look at the original. Using a mix of 2D animation and computer graphics director Hiroyuki Kitakubo and his team take us on a wild 48 minute ride as Saya, the last original vampire, goes up against "chiropterans", bat-like demons, in post-war Japan.

Enter the biggest virtual garage full of Japanese movie memorabilia

by Chris MaGee

Earlier this week we reported on the new Akira Kurosawa Digital Archive that's been compiled by Kyoto's Ryukoku University in conjunction with Kurosawa Productions. So comprehensive are the materials that have been scanned and posted that it could easily take days to dig through it all. So, if you didn't have enough trouble coming up with time to navigate the Kurosawa Archive I've now found another site that will take even more of your time to explore; although this site doesn't so much have a feeling of a museum as the Kurosawa site does. No, this one is more like the biggest, best garage sale you'll ever find.

Okay to call this a website is a bit of a misnomer. It's actually just a Picasa Web Album that's been set up by a user in Japan who calls himself "Mack". "Mack" collects stuff, lots and lots, and lots of stuff, from toy model box tops and military magazine to old 1960's Japanese pop albums, but of special interest to Japanese film fans (and film fans in general) is his extensive collection of Japanese movie memorabilia. Not only does he have a plethora of scans of Godzilla, Gargantua and other kaiju magazines and posters, Ultraman and Ambassador Manga (above) pics, posters for Takeshi Kitano films, etc., etc., etc. but he also has an extensive collection of Japanese posters for such Hollywood movies as "Easy Rider", "Ghostbusters", "The Ten Commandments, "Planet of the Apes" as well as old Japanese movie magazines dedicated to Bruce Lee and American Westerns. It just goes on forever and ever. So if you have some time to kill after going through the Kurosawa archive then make this site your next stop.

REVIEW: Tokyo!

Tokyo!

Released: 2008

Director(s):
Michel Gondry
Leos Carax
Bong Joon-ho

Starring:
Ryo Kase

Ayako Fujitani
Denis Lavant
Teruyuki Kagawa
Yu Aoi

Running time: 112 min.

Reviewed by Chris MaGee


It's interesting how the major cities of around the globe have taken on nearly mythic personæ in the minds of the world's populace, as if they were a part of some kind of urban collective unconscious. While New York City is thought of as the defacto world capital being the home of the U.N., the Statue of Liberty and "Give us your tired, your poor, your hungry, your huddled masses..." it's also taken on the character if not of a place of villainy then certainly of danger, street crime, a pragmatic toughness, and brutal honesty. Meanwhile a city like Paris stands as a landmark to romance and Old World traditions, it's 19th-century status as hub of painting, music, and fashion carrying over to the present day giving it an air of refinement and culture, albeit served up with a certain remove and rudeness. But of all the world's capitals none captures people's imaginations quite like Tokyo does. Maybe it's because of its grounding in traditions that seem strange or sometimes directly opposite to our way of Western thinking, or how it sprung glittering with neon and chrome from the rubble of WW2, but for people around the globe Tokyo represents the future, be it utopian or dystopian, a place of crushing conformity and congestion, but also of cutting edge technology and baffling pop culture. Of all the major cities Tokyo is probably the one that lends itself best to the wild imaginings of literature and cinema, so it was no surprise that three of today's most visionary directors joined forces to present stories set in this megalopolis. "Tokyo!" brings together Michel Gondry (Eternal Sunshine of the Spotless Mind, The Science of Sleep), Leos Carax (Pola X, The Lovers on the Bridge), and Bong Joon-ho (Memories of Murder, The Host) all of whom take the city of Tokyo as a starting point to explore relationships, loneliness, and belonging, with only Carax daring to hit the nerves of Japan's wartime past and insular society.

Gondry starts things out with "Interior Design", a story that really could have been told in any urban setting, in fact Gondry based his film on a sort comic by artist Gabrielle Bell titled "Cecil & Jordan in New York". Boyfriend and girlfriend Akira (Ryo Kase) and Hiroko (Ayako Fujitani) have stuffed their car with all their belongings and have made the move to Tokyo in an attempt to get Akira's burgeoning film career off the ground. They stay in Hiroko's friend Akemi's cramped apartment while they look for a place, but as most struggling young couples know finding a decent place to live in the big city (be it New York, Paris, Tokyo... or even Toronto) is often as difficult as finding a palm tree in the Arctic. Each day they scour the rental ads to no avail. Akira and Hiroko have entered into a world of boxes: small cubicle apartments in rundown buildings are juxtaposed with the boxed gifts that Akira gift wraps at his day job in a department store; and it's in this world that their relationship begins to fall apart. As Akira gains a handful of fans for his art film with a capital "A" Hiroko feels more and more marginalized, someone without a vocation, without a home, without a purpose. Her depression is depicted using some startling visual effects as she stumbles through the streets transforming limb by limb into a wooden chair. Instead of being a symbol of stasis though Gondry turns things around, having Hiroko being taken into the apartment of a musician, played by Nao Omori (Ichi the Killer, Vibrator) and finding humour, joy and purpose in her new life as a piece of furniture.

After the strangely happy ending of Gondry's "Interior Design" Leos Carax keeps the laughs coming, at least for a time, with his contribution "Merde" which asks the question, "What would a modern day Japanese monster movie look like?" Instead of resorting to a parody of the men in rubber suits that crushed scale models of Tokyo in Toho's kaiju films of the 50's and 60's Carax uses the dying art of comedy as social satire to poke fun at Japan's insular society and general fear of gaikokujin . When a filthy, red-haired, half blind foreigner crawls out of the sewer in downtown Tokyo and proceeds to break every rule of polite society (knocking pedestrians over, licking young womens' armpits, stealing people's wallets and eating their contents) the Japanese react just as they would if Godzilla were tramping through the city. Carax drives this point straight home by employing Akira Ifukube's iconic theme music for Ishiro Honda's "Godzilla" throughout "Merde". The mood shifts somewhat from comic to tragic though after this grotesque man, played with horrific glee by French actor Denis Lavant, hauls a supply of grenades from a stash of WW2 era weapons from Tokyo's underground and proceeds to use them on the city's innocent populace. SWAT teams are sent into the sewers and this man, known simply as Merde, or "Shit", is taken into custody and put on trial. To discover what this creature's motivation for killing Tokyoites might be a French lawyer (Jean-François Balmer) who bears a striking resemblance to Merde is flown in to communicate with him. While Carax plays with Japan's contentious relationship with outsiders he also paints a naughty stereotype of his countrymen. Denis Lavant's curled goatee, abysmal personal hygiene and surreal diet of flowers and cash that would make André Breton proud are an utterly un-PC cartoon of the French.

Tying off "Tokyo!" is Bong-Joon-ho's "Shaking Tokyo" a sweet film that employs the phenomena of hikikomori, or socially withdrawn shut-ins, and the constant threat of earthquakes as symbols in a story of how love can literally bring you out of yourself and shift the very foundations of your world. Teruyuki Kagawa (Sway, Tokyo Sonata) plays a man who hasn't left his home in a decade. He never liked the fast pace and jostling of the crowded streets, the sunlight made him feel ill, so his apartment has become it's own little hermitage where everything has it's proper place and he can fall asleep on the toilet with the door wide open without any sense of indecency. Besides, in the age of the telephone and internet there's not need to leave the house anyway. Food and supplies can be brought to his door, and as a weekly treat he orders in pizza, but never ever makes eye contact with the delivery person... that is until one day when the delivery woman, played by Yu Aoi (Hana and Alice, Hula Girls), speaks to him. Eyes lock, the ground shakes beneath their feet, and she faints dead away. Kagawa's character must deal with another human being for the first time in ten years, and a beautiful one at that. When the next Friday roles around but she doesn't return to deliver his pizza the hikikomori must make the decision to forget her or to make the momentous step of leaving the solace of his apartment to seek her out. "Shaking Tokyo" is definitely a crowd pleasing finale to the trio of films that make up "Tokyo!", but I felt that Bong Joon-ho could have passed on having a series buttons tattooed onto Yu Aoi's body marked "Sadness", Heartbreak", and "Love" were a bit heavy-handed. The film wouldn't have lost anything if they had been left out.

While all the stories in "Tokyo!" suffer a bit from the foreigner's perception of the city as some kind of exotic "other"-land that I mentioned above I never got the feeling that Japan or the Japanese were being disrespected or unduly caricaturized during any of the three films, even during the Carax's pointed social commentary in "Merde". Add several cameos by high profile Japanese talent (Naoto Takenaka, Renji Ishibashi, Satoshi Tsuabuki, and YoshiYoshi Arakawa) and "Tokyo!" represents a highly creative, funny, sweet and original movie-going experience for both fans of Japanese film fans and film fans alike.

Tsurisaki Kiyotaka: Chronicler of the dead

by Chris MaGee

Although the work of Tsurisaki Kiyotaka is singular in its subject matter it’s somewhat difficult to categorize. You see the 43-year-old photojournalist and documentarian has spent 15 years traveling some of the world’s most dangerous locales to photograph and film the dead. While it would be easy to write off his output as some kind of morbid, sensational, and almost pornographic celebration of death and gore it can also be appreciated as an important examination of how we as a society have become removed from the notion of our own mortality. Frankly, I sit firmly on the fence and can see both viewpoints, but continuing the maxim of the J-Film Pow-Wow to highlight the widest variety of Japanese film culture I thought that I’d do a brief write up on Kiyotaka and leave it up to you to decide on the validity of his work.

As a teenager growing up in Toyama Prefecture Kiyotaka made short amateur films, but despite his early cinematic ambitions he ended up studying literature at Tokyo ’s Keio University . Upon graduation, though, he’d make a return to filmmaking, albeit pornographic filmmaking, as a way to help pay the bills. In the early 90’s Kiyotaka began to transition away from the world of adult video and into photojournalism, being sent to such places as Thailand , Palestine , and the former Soviet Union on assignments. It was while he was covering these volatile, war torn regions that he was first exposed to death in all its ugly variety. By 1994 Kiyotaka was photographing the dead full time and by 1995 he held his first solo show at Tokyo ’s NG Gallery. In the years since then he was photographed over 1,000 corpses as well as directing the 2005 documentary “Orozco el embalsamador” that chronicled the life and work of Bogota, Colombia’s oldest working embalmer, as well as a series of short film which he calls “Junk Films” which screened in the “Time and Tide” programme at the 2008 Rotterdam International Film Festival.

Far from being entertainment (I wouldn’t want to meet anyone who thought of these films as entertainment) Kiyotaka’s work make's question our reality and our attitudes towards it, and I can think of no other subject that best does that then the inevitable and non-negotiable time of our deaths. As he put it in a statement made shortly after the release of “Orozco el embalsamador” and then I’ll let you discuss your thoughts on his work in the comments: “Though I have traveled the world and observed death for over 10 years, I have never grasped its reality; I can only understand death materially. I have found however, that the path from the living to the dead indicates the most precious human virtue: dignity.” Then again, to play the devil's advocate, I question how much "dignity" Kiyotaka affords his subjects if he puts some of his photographs on t-shirts sold at his official website. Thoughts?

Below is the trailer for "Junk Films: The Collected Short Shockumentaries Of Tsurisaki Kiyotaka" that screened at Rotterdam in '08. Nothing terribly graphic, but a word of warning to anyone who may want to explore Kiyotaka's work further: the vast majority of it is NSFW.

A 24-minute interview with filmmaker/ Renaissance Man Takeshi Kitano

by Chris MaGee

Most of you know that I'm a big fan of the films of Takeshi Kitano. Kitano's 2002 film "Dolls" was the major impetus for me to delve deeper into the world of Japanese cinema, so in a way we have to thank him for what eventually became the J-Film Pow-Wow. I'm not an unconditional fan of Kitano's though. As much as his films "A Scene at the Sea" and "Kikujiro" stand amongst my favorites of all time his recent output has tested the patience and the sensibilities of both diehard fans like myself and general movie audiences as well. Far from writing him off entirely I find myself continually intrigued by Kitano, and it was one a search through YouTube this week that I came across this 24-minute exclusive interview that CNN Asia conducted with the filmmaker/ actor/ comedian/ TV host/ author just after the release of his most recent film "Achilles and the Tortoise" last year. Fanatics may not get that much new information about Kiatno from this piece, but those who may just be getting into his filmography should learn a lot from this indepth chat.
The interview is broken into three chunks, the first being embedded below while the two subsequent parts can be found by clicking here. Enjoy!

June DVD Releases


Shinobi no Mono, Vol. 4: Siege - Tokuzo Tanaka (1964)
AnimEigo/ Release Date: June 2nd

The Hidden Fortress (Essential Art House Edition) - Akira Kurosawa (1958)
Janus/ Criterion/ Release Date: June 16th

X-Cross - Kenta Fukasaku (2007)
Tokyo Shock/ Release Date: June 23rd

Tales of a Terror Cult: A/ A2 - Tatsuya Mori (1998/ 2001)
Facets/ Release Date: June 23rd

Marquis de Sade's Prosperities of Vice - Akio Jissoji (1988)
Mondo Macabro/ Release Date: June 30th

Monster X Strikes Back: Attack the G8 Summit - Minoru Kawasaki (2008)
Tokyo Shock/ Release Date: June 30th

Lady Ninja Kaeda
Exploitation Digital/ Release Date: June 30th

Tokyo! - Michel Gondry/ Leos Carax/ Bong Joon-ho (2008)
Liberation Entertainment/ Release Date: June 30th

REVIEW: 3 Seconds Before Explosion


爆破3秒前 (Bakuhatsu sanbyômae)

Released: 1967

Director:
Motomu Ida

Starring:
Akira Kobayashi
Hideki Takahashi
Ryoji Hayama

Ruriko Ito

Running time: 84 min.


Reviewed by Bob Turnbull


Similar to Kino's other recent release ("Detective Bureau 2-3: Go To Hell Bastards!"), Tan Ida's 1967 thriller "3 Seconds Before Explosion" is a fast paced, colourful and completely entertaining story of undercover spies and gangs with lots of stylish violence. With several layers of spies acting on behalf of three separate groups attempting to recover some precious gemstones, Ida's film has a larger focus on the plot than on the striking visuals and stylish technique, but it still contains both of those as well. Fortunately both of these Nikkatsu Action treasures (with a couple of the best film titles ever) never let up on the entertainment.

The film opens with a roughly 2 minute long sequence of our hero Yamawaki being tortured - piercing tones and flashing bright lights are assaulting his senses and it looks like he's about to crumble. He's attacked by a knife-wielding man and just as he's ready to kill him (at the encouragement of a disembodied voice), the "test" comes to an end. It's been a training exercise to see if Yamawaki can not only withstand incredible stress, but also follow orders - to see if he could actually kill if directed. He's now passed his final test and is officially considered a special agent for the secret crime fighting bureau.

He's assigned to track down and recover the gemstones. Through complicated legal reasons, the gems change ownership to whoever has possession of them on a certain date at 6:00AM. So obviously, there are competing interests in acquiring the stones. Yamawaki goes way undercover to infiltrate the gang known to have the gems, but he encounters several issues. First, the gang don't trust him easily. Secondly, there are already spies within the gang feeding information to another gang who also want to get their hands on the jewels. Further complicating matters is the fact that his former colleague and equally well-trained spy Yabuki, is now working for the gang looking to grab the gems. Of course, the two old friends respect each other, but vow that they will kill in order to get the gems.

Though not as openly silly at times as "Detective Bureau", the fun factor kicks in with the brisk pace of the story as well as Yamawaki's inventiveness and use of little gadgets. He's always ahead of the rest of the gang leaders and the assorted henchmen clogging up each scene (there are more henchmen per square foot in this film than most) and manages to retain a cool detached persona. Even the Chinese female escort attempting to seduce information out of him can't crack a smile on Yamawaki. Yabuki on the other hand is a bit more emotional and quick to temper - perhaps because his girlfriend is in the rival gang and providing information back to him. The women in this world, by the way, don't typically fare very well...My impression has always been that this is more a direct correlation to the real societal issues women had to deal with at the time than any kind of misogynistic exploitation, but whatever the case, it certainly jumps out at you. So even while you're enjoying a good solid genre film packed with action and tension, you can still be made to ponder a few things. Even 40 years later.

Read more from Bob Turnbull at his blog.

Thursday, May 28, 2009

The first trailer for Hiroyuki Nakano's "Rashomon" reboot "Tajomaru" hits the net

by Chris MaGee

Back in January news broke that Hiroyuki Nakano, the man who brought us 1998's post-modern chanbara romp "Samurai Fiction" was making a return to feature filmmaking with "Tajomaru". Based on Ryunosuke Akutagawa's 1922 short story “In a Grove” which would later form the basis of Akira Kurosawa's "Rashomon" Nakano's film was pitched as more of a "romantic fantasy film than a historical drama". At it's center is Shun Oguri, of "Crows Zero" fame, as Naomitsu, the nobleman, portrayed in "Rashomon" by Masayuki Mori, who is attacked and killed by forest bandit Tajomaru (Toshiro Mifune) after the bandit rapes his wife (originally portrayed by Machiko Kyo. The idea of taking on one of the most iconic stories in Japanese literature and cinema sounds kind of strange doesn't it? I thought so too, and I'm not entirely sold on the idea; but when you figure this is coming from Nakano who didn't just direct "Samurai Fiction" but the 2001 revisionist take on the 60's ninja TV series "Red Shadow" and made a remake of "Seven Samurai" for pachinko machines... well it starts to make sense.

Now Nippon Cinema has snagged the first teaser trailer for the film due out in September in Japan, and the one thing that pops out at me is 66-year-old veteran actor Hiroki Matsukata as the titular Tajomaru. When news of this production first came out I had thought that Oguri was going to be playing the dreaded forest bandit, a terrible choice given his pouty baby face, but having the star of such yakuza classics as "Battles Without Honor and Humanity" and "Cops vs. Thugs" makes a lot more sense. Can he hold a candle to Toshiro Mifune? Probably not, but better Matsukata than Oguri.

Head to Nippon Cinema here to check out the trailer and judge for yourself: inspired reinterpretation or unnecessary remake?

There's live-action manga adaptations... and then there's live-action manga...

by Chris MaGee

Are you a fan of manga and anime? I'm sure there are a few of you out there. Ever heard of "Excalibur Zero"? I doubt it. "Excalibur Zero" is an hour and a half long video that's been posted in chunks on YouTube. It follows the adventures of a group of Japanese high schoolers off on their summer vacation who must single-handedly thwart an alien invasion. The storyline's not that far off a lot of manga and anime, right? True enough, but this isn't manga or anime. This is a live-action version of both... and I'm not talking Takashi Miike's "Yatterman" or Hideaki Anno's "Cutie Honey" either. Writer/ director James Davis has put together a fan film that strives to bring manga to life by including speech bubbles, captions and onscreen hand drawn graphics. Does it work? Well.... For something that looks like it was shot on cellphones for pocket change "Excalibur Zero" definitely gets an "A" for effort. That's about as much I can say to praise this one. The fact that there are actually no Japanese people in this even though they're calling each other by Japanese names should give you an idea of what to expect.

I'd have embedded the first part of the video, but embedding has been disabled, so head here to check it out. Thanks to Japanator for pointing the way to this.

Wednesday, May 27, 2009

Our Top Ten Favorite Cameo Appearances


It's happened to us all: we're sitting on the couch at home watching a DVD or in a darkened theatre munching on popcorn when we suddenly see a familiar face on the screen. We do a double take, and if we are at home then we grab the remote and rewind. Could that really be...? This is usually what happens when a director includes an actor, actress, celebrity, or even a fellow filmmaker in a clever little cameo role. A lot of the time these appearances are over in a flash. Sometimes they're credited, most often not, but for this month's top ten list the J-Film Pow-Wow wanted to compile our favorite top ten cameos that had us jumping out of our seats and saying, "Hey! That's...!!!!!" Enjoy!


10. Naoto Takenaka in "The Happiness of the Katakuris"

If we ever do a list of the top ten Japanese character actors (and I'm sure that we will) then Naoto Takenaka will definitely end up ranking very high on it. The 53-year-old comedian, singer, TV host, filmmaker and of course actor has appeared in over 130 films, as well directing six with his most recent "Yamagata Scream" gaining international buzz for it's combination of broad comedy and zombie horror. If Takenaka is a household name in Japan then in North America he is still mainly an actor who's attained the "Isn't that the guy from...?" status amongst foreign and genre film fans. Remember Koji Yakusho's hilarious wig-wearing co-worker Tomio in 1997's "Shall We Dance?" or the evil warlord Kiyomasa Kato in Ryuhei Kitamura's "Azumi"? That's Takenaka. We at the Pow-Wow, though, consider a small cameo in Takashi Miike's 2001 zombie comedy musical "The Happiness of the Katakuri's" to be one of Takenaka's most hilarious performances. Sitting around the dinner table one night the Katakuris chow down while watching a very strange news broadcast on TV. A sweaty spastic newscaster played by Takenaka is reporting on a farm where the animals do all the work when suddenly a beetle crawls up his nose. The ensuing sniffling and wincing goes from funny to downright disturbing when we realize that the bug has probably crawled up into the newscaster's brain... but this is Takashi Miike, so things quickly get back to funny again, especially when the broadcast cuts to a sexy blonde singer... also played by Takenaka. CM


9. Hideaki Anno in "Otakus in Love"

Number nine on our list of top ten favorite cameo appearances doesn't involve an actor or a singer, but a famed anime and film director. "Otakus in Love", Matsuo Suzuki's 2004 directorial debut based on the manga by Jun Hanyunyuu, follows the romantic ups and downs between Mon Aoki (Ryuhei Matsuda), a starving manga artist who constructs abstract comics from rocks, and Koino (Wakana Sakai) a cosplayer and manga artist in her own right. It's a zany film loaded with celebrity cameos big and small. Shinya Tsukamoto, Takashi Miike, Kiyoshiro Imawano, George Asakura, and Jun Hanyunyuu himself all make appearances. Even Suzuki steps in front of the camera to play Ryuhei Matsuda's romantic rival, Marimoda, a once great manga artist who now runs a manga café. We could have easily based our entire list on just this one film, but one of the briefest cameos in "Otakus in Love" also proves to be the most interesting. When Koino drags Aoki along with her to a cosplay convention to see a totally over the top theme song performance two silent figures hug the walls. The man in glasses and the unkempt beard is none other than Hideaki Anno, the creator and director of the TV anime "Neon Genesis Evangelion" as well as the director of such films as "Love & Pop" and the live-action "Cutie Honey". What makes this extremely brief cameo even more interesting is that it is a two for one. The woman standing next to Anno is his wife Moyoco Anno, a manga artist and the woman behind "Sakuran" which was adapted into a live-action film by Mika Ninagawa in 2007. Both Mr. and Mrs. Anno had a cameo appearance in that film as well. CM


8. Sonny Chiba in "Fall Guy"

The creative collaboration between Sonny Chiba and director Kinji Fukasaku goes back to the very beginning of both of their careers. Chiba starred in the very first Kinji Fukasaku film, 1961's "Wandering Detective: Tragedy in Red Valley". It was just Chiba's fourth role in a feature film. The two became friends and Fukasaku would end up casting him in 16 of his films, mostly during the 70's and early 80's. You can count 17 films if you include "Battle Royale II", the sequel to Fukasaku's groundbreaking 2000 cult classic. Fukasaku died while making the film and his son Kenta would go on to complete it with Chiba appearing in the role of Makio Mimura. Actually it's wasn't 16 films that Chiba and Fukasaku worked on together, nor was it 17. If you include number eight on our cameo list it brings the total of their collaborations up to 18 films. In 1982 Fukasaku adapted Kouhei Tsuka's hit stage play "Fall Guy" to the big screen. This comedy of errors tells the story of Yasu (Mitsuru Hirata), a loyal disciple of narcissistic and childish movie superstar Ginshiro (Morio Kazama). When Ginshiro tests Yasu's loyalty by demanding that he marry his pregnant girlfriend Konatsu (Keiko Matsuzaka) Yasu feels he has no other choice but to say yes. With an expectant wife on his hands Yasu is forced to take on the dangerous job of stunt man. In the montage sequence that Fukasaku uses to show Yasu's rise to fame taking hits and punches we're taken to the set of a gangster film where a lone gunman in a white suit battles it out with a gang of pursuing bad guys. That man in the white suit is none other than Sonny Chiba. He doesn't say a word, but he doesn't have to. He's Sonny Chiba, and he's got a rifle in his hands. Got it?! CM


7. Riki Takeuchi in "Dainipponjin"

Fans of yakuza films are used to seeing Riki Takeuchi in action, but that action usually involves guns, knives, and fists, not jumping up and down on one leg and yelling for joy like a crazy person. That's exactly what Takeuchi does in Downtown member Hitoshi Matsumoto's 2007 directorial debut "Dainipponjin". The film, which tells the story of Daisato (played by Matsmoto himself), a mild-mannered, slightly depressed everyman who also just happens to transform into a giant hero, features a motley gallery of "baddies" who Daisato must battle for the protection of the Japanese people. One of these is the "Jumpy Baddie", a one-legged creature who simply likes jumping around and screaming at the top of his lungs. He doesn't mean any harm, in fact he only has the mental capacity of an eight-year-old, but when you're several stories high all that jumping around can cause a lot of damage. Japanese film fans will automatically recognize that giant computer-animated head that sits atop the single bird-like leg from it's trademark grimace and pompadour hairstyle. Yup, Takeuchi provided the motion capture features for this monster and he gloriously plays against type by bringing the proper child-like joy to his characters destructive rampage. There are other computer-animated cameo appearances in "Dainipponjin", most notably by Itsuji Itao as the "Stink Baddie" and singer Ua as Daisato's manager, but Takeuchi's is easily the most hilarious of the bunch simply because we'd never expect to see the tough star of the "Tokyo Mafia" and "Dead or Alive" films acting like such a wonderful idiot. CM


6. Kaneko "Beat" Kiyoshi in "Kikujiro"

Loyal fans of Takeshi Kitano will know that the actor/ TV host/ writer/ painter/ director (I'm running out of breath here...) didn't get his start on his own. Kitano began his career in show business as part of the wildly successful manzai comedy duo, The Two Beats. "Beat" Takeshi and Kaneko "Beat" Kiyoshi developed their fast-paced, irreverent, and often downright offensive style in the comedy clubs of Tokyo, finally taking it to television in 1976. Their standard performance would feature Kitano going off at the mouth about from being rude to the elderly to such taboo subjects as sex and death all the while peppering his verbal tirade with "ass", "shit", "cock" and "pussy". It was Kaneko's job to simply try and keep up. Eventually this proved too much and the duo split up in the early 1980s. Of course Kitano would move on from his manzai roots and launch not only an internationally acclaimed moviemaking career with films like "Violent Cop", Sonatine" and the Golden Lion-wining "Hana-bi", but he would also become one of the most ubiquitous faces on Japanese television, hosting dozens of game, news, and panel shows. Kaneko didn't fare nearly as well after the split, appearing throughout the years on various TV variety shows and dramas. It was in 1999 that The Two Beats had a reunion and lucky for us it occurred on the big screen. It was in Kitano's lyrical road movie "Kikujiro". Out of money and lost in the country it looks like little Masao (Yusuke Sekiguchi) and his inept guardian Kikujiro (Kitano) will never reach their goal of finding Masao's estranged mother. When the two sit down to wait at an old bus stop who do you think comes along? "Beat" Kiyoshi and for the first time in nearly 20 years Kitano and Kaneko gave audiences just a taste of their off the wall humour, and provided one of the funniest scenes in "Kikujiro". CM


5. Tadanobu Asano in "Swallowtail Butterfly"

We've already had one couple in our top ten, Hideaki and Moyoco Anno, but they're not alone. There's another couple who showed up in a film together, but this time only one was making a cameo while the other was a lead character. "Love Letter" and "All About Lily Chou-Chou" director Shunji Iwai explored a ramshackle near future Japan in his 1996 Pan-Asian success "Swallowtail Butterfly". In this world people from across the Asian mainland have flocked to Japan looking to make money, specifically the almighty yen. The cities have become home to shanty towns that house thousands of these immigrants who have become so synonymous with with this mad dash for cash that they and the slums that they inhabit share the same name: Yentown. One of these Yentowners, a prostitute with big dreams named Glico (played by Japanese pop star Chara) rises out of the ghetto to front a multicultural rock band managed by ex-con Feihong (Hiroshi Mikami). Glico's band makes their debut in the club which Feihong opens, defiantly called Yentown, and it's here that they soon build a huge fan base. Amongst the crowd rocking out to the music? None other than Tadanobu Asano, Chara's real-life husband. The two had actually just meet a few months before on the set of another Shunji Iwai film "Picnic" and were married shortly there after. CM


4. Takashi Miike in "Neighbour No.13"

Yasuo Inoue's 2005 "Neighbor No.13" is a dark psychological revenge tale based on the manga "Rinjin 13-gô" by Santa Inoue (no relation). It's story of the splintered Murasaki (Shun Oguri) who moves back to his childhood neighbourhood to seek revenge for the brutal bullying that he suffered at the hands of his classmate Akai (Hirofumi Arai). To better have access to his boyhood enemy Murasaki moves into the apartment below Arai and his wife Nozomi (Yumi Yoshimura) and their young son, but it's in this cramped little apartment that the murderous, spiteful and insane part of Murasaki begins to truly take control. This is the Neighbour No.13 of the title and he is given life in a truly frightening performance by Shido Nakamura. So, a pitch black film about death and revenge with an often surreal split-personality conflict at its core. Who would be best to appear in a cameo of this kind of film. Well, a man whose dark, often surreal and psychologically twisted films have gained him a huge cult following around the globe. That's right. Takashi Miike appears for only a few seconds as an unfortunate manga-obsessed shut in who lives next door to Murasaki. You'd be forgiven if you didn't recognize the director of such films as "Ichi the Killer" and "Audition" though. Miike's known for going everywhere wearing his ultra-cool sunglasses, but in his scene in "Neighbor No.13" he looks pale, confused, perfect for someone who spends their days locked in their apartment escaping into a world of fantasy. That is until his neighbour from apartment 13 comes knocking on his door with a horrific dose of reality. If you haven't seen the film I won't say anymore. CM


3. Kiysohi Kurosawa in "The Funeral"

After graduating from Tokyo's Rikkyo University in the late 70's Kiyoshi Kurosawa, the man behind such films as "Cure", "Pulse", and "Tokyo Sonata", apprenticed not only in the world of pinku eiga but also as an assistant director under filmmakers like Shinji Somia, Takahashi Banmei, and Kazuhiko Hasegawa. Amongst these veteran filmmakers though Kurosawa also worked as an assistant director for actor-turned-director Juzo Itami. By the early 80's Itami, whose career at that point stretched back over two decades with roles in films by Nagisa Oshima, Kon Ichikawa, Richard Brooks, and Toshiya Fujita, was interested in running things behind the camera. His directorial debut was 1984's bittersweet social satire "The Funeral" which, like Itami's better known follow up film "Tampopo" and "A Taxing Woman", starred his wife Nobuko Miyamoto as an actress who must plan the funeral of her father with the help of her fellow actor/ husband portrayed by Tsutomu Yamazaki. In a cheeky film-within-a-film scene near the beginning of the story Miyamoto's character learns of her father's death while shooting a commercial with her husband, and amongst the film crew is none other than Itami's own assistant director at the time, Kiyoshi Kurosawa. Both Itami and Kurosawa would continue to pop in cameos in each other's films for the next 12 years until Itami's tragic suicide in December of 1997 at the age of 64. CM


2. Tatsuya Nakadai in "The Seven Samurai"

Here's probably the briefest, blink and you'll miss it cameo on our entire list. The fact that it features one of Japanese cinema's most respected actors is reason alone to push it right to number one, but we've reserved that top slot for another special gentlemen. As it stands Tatsuya Nakadai's appearance in Akira Kurosawa's "Seven Samurai" marks only the second time that the now 76-year-old actor appeared on the silver screen. I can hear you now. "Tatsuya Nakadai wasn't in 'Seven Samurai'." Well, actually he was, but only for a few brief seconds, but those few seconds made Japanese cinema history. In 1953 Nakadai was a 21-year-old acting student with only one film under his belt, Masaki Kobayashi's "The Thick-Walled Room". He was brought in to play one of several samurai whom the three impoverished villagers Rikichi, Manzo, and Yohei (played by Yoshio Tsuchiya, Kamatari Fujiwara, and Bokuzen Hidari), consider momentarily for the task of saving their village from marauding bandits. Apparently Nakadai worked with Kurosawa for the better part of a day, with the director insisting on take after take to make sure that Nakadai perfectly captured his vision of a lone samurai. Of course Nakadai's samurai didn't get the job of saving the village from bandits, but that afternoon would end up translating into a fertile creative partnership with Nakadai starring in four of Kurosawa's most praised films: "Yojimbo", Sanjuro", High and Low" and "Kagemusha". CM


1. Kon Ichikawa in "The Magic Hour"

Koki Mitani's latest comedy "The Magic Hour" is all about films within films. The main plot involves Bingo, a young hotel manager played by Satoshi Tsumabuki, who in order to save his skin after being caught in a compromising position with the girlfriend of mob boss Tessio (Toshiyuki Nishida) must track down a mysterious hitman named Della Togashi. The only problem is that Bingo not only has no clue as to where to find Togashi, but he also has no idea who Togashi is. No one does, because no one has ever set eyes on him and lived. Facing being sunk into the river with a pair of cement shoes Bingo comes up tith a brilliant if unorthodox solution to his dilemma: he'll hire an actor to play Della Togashi! But who? Bingo discovers his deadly assassin in the form of Murata (Kochi Sato), a C-grade actor doing body double work on the sequel to Kon Ichikawa's 1961 film "Kuroi junin no onna" titled "Kuroi hyaku-ichi nin no onna". And guess who's sitting in the director's chair for this fictional film? None other than the director of the original/ real-life film, Kon Ichikawa wearing his trademark hat and chain-smoking as usual. The legendary director shot his cameo only a few months prior to his death in February of 2008 at the age of 92. CM

Yuya Yagira returns to the spotlight with "Subete wa Umi ni Naru"

by Chris MaGee

Last August film fans were stunned by the news of the overdose of Yuya Yagira, the 18-year-old actor who gained international acclaim with his debut role in Hirokazu Kore-eda's 2004 drama "Nobody Knows". (You can read our original coverage here.) At the time the media was still reeling from the accidental drug overdose of actor Heath Ledger, but the speculation was that Yagira may have been imploding like so many child stars before him. Yagira vehemently denied that the overdose was a suicide attempt and instead insisted that he had simply taken too many doctor prescribed sedatives after a fight with his parents. Regardless of the cause or what Yagira's intentions were he has definitely been keeping a low profile since then. In November he actually released a novel in Japan titled “Yama nai ame” but avoided returning to the screen... that is until now.

Yagira will make his return to films in Akane Yamada's directorial debut "Subete wa Umi ni Naru." He will portray a nerdy high school student, bullied by his class mates, who finds solace in literature. When he meets a clerk, played by Eriko Sato (Cutie Honey, Kuchisake-onna) it's love at first sight. Yamada, who previously wrote the screenplays for Yeming Wang's "Tea Fight" and Tetsuo Shinohara's "Clearness" plans to have "Subete wa Umi ni Naru" completed by the spring of 2010.

Part of me is glad that Yagira has returned from what has obviously been a very difficult period for him, but another part of me still feels a bit bad for him. You have to remember that when he made his debut in "Nobody Knows" he was just a 13-year-old kid with absolutely no acting experience. The film was released and suddenly he was picking up awards for best actor at the Cannes Film Festival. You almost wish that Yagira, if he so wished, could just go back to being a normal kid. Well, at least that's what I think. Share your thoughts in the comments.

Thanks to Tokyograph and Japan Zone for the details on this. Thanks also to Sankei Sports for the above still from "Subete wa Umi ni Naru."

Explore the career of a master with the Akira Kurosawa Digital Archive

by Chris MaGee

Here's big news for fans of classic Japanese cinema. Ryukoku University and Kurosawa Productions have teamed up to organize the Akira Kurosawa Digital Archive, an online repository for everything Akira Kurosawa, from the very beginnings of his filmmaking career to his death in 1998. And when I say everything I mean everything.: pages from screenplays, concept sketches, film stills, costume designs, archival photos, etc., etc. After reading about the Digital Archive on Jason Gray's blog I immediately went over to check it out, but there would be no way that I could give you an overview of all that's included therein. The collection that's been posted is that extensive. What I will say is that I have to applaud both Ryukoku University and Kurosawa Productions for going the digital route on this. They easily had enough material for a Kurosawa Museum, but instead of going with stashing them in a building they've chosen to share them with the world via this website. Bravo!

There's no doubt that I'll be setting aside a significant amount of time to explore this site, and I recommend you do too. You can find the Akira Kurosawa Digital Archive here.

Want crazy? Discotek has crazy with Naoki Kudo's "Oh! My Zombie Mermaid"

by Chris MaGee

Now here's a DVD release to watch out for if you like crazy action and bizarre humour... or bizarre action and crazy humour. Naoki Kudo's 2005 film "Ah! Ikkenya puroresu" which has gone by such English titles as "Ah! House Collapses", "Ah! Pro-Wrestler Mansion", "Oh! My Zombie Mermaid: Utter Mayhem" is finally getting a North American Region 1 DVD release on July 28th courtesy of the folks at Discotek/ Eastern Star. Now just called simply "Oh! My Zombie Mermaid" the disc will feature Interviews with the cast and crew, a making-of featurette, a special stunt reel, and trailers - all that on top of the epic story of a housewarming party gone terribly, terribly wrong as Kouta, a pro-wrestler played by Shinya Hashimoto, is distracted from his party planning by his sister, a TV crew and a group of evil vigilante wrestlers bent on his destruction. Oh, and his wife Asami (Urara Awata) starts to turn into a mermaid. Doesn't that always happen when you move into a new place?

With the success in the past few years of such crazy genre films from Japan like "Tokyo Zombie", "Funky Forest: The First Contact" and "The Machine Girl" this release of "Oh! My Zombie Mermaid" comes at the absolute perfect time. I can hear the cash registers ringing for Discotek already.

Thanks to Nippon Cinema for pointing the way to this release... and if you're unconvinced of the sheer insanity of "Oh! My Zombie Mermaid" then check out the explosive trailer below.

Tuesday, May 26, 2009

The first 5-minutes of Chris Nahon's "Blood: The Last Vampire" hit the net

by Chris MaGee

Yes, everyone knows that I've been pretty hyped about Chris Nahon's live-action take on Production I.G.'s 2000 animated adventure "Blood: The Last Vampire". I am a big fan of the original tale of Saya, a half-vampire girl employed by a shadowy U.S. agency out to destroy a demon infestation in post-war Japan, and all the still and trailers up to this point have looked very promising. When I saw the report over at Anime News Network today about how Yahoo Japan was streaming the first five minutes of the film, due out in North American theatres later this summer, I immediately clicked the link and settled in to see what was what. Sadly it turned out to be one of those amazingly choppy streams from Japan and was virtually unwatchable, but god bless YouTube where the first five minutes had already been posted. What's the end verdict? Well, after an opening crawl about how demons took human form after the Onin War in the 16th Century (actually it was the 15th century, but...) and the demon slayer Kiyomasa was killed by the demon queen Onigen, the action begins. It's pretty damn faithful to the animated film, but once people start opening their mouths... well, look out! There's not only some pretty bad acting, but some very bad English-dubbing. Ouch! To see for yourself check out the first five minutes of "Blood: The Last Vampire" embedded below.

Isao Yukisada brings his dream project "Parade" to the screen

by Chris MaGee

Isao Yukisada, the man behind the maudlin mega-hit "Crying Out Love at the Center of the World", is finally bringing one of his dream film projects to fruition. Since 2002 the 40-year-old director (above left) has wanted to adapt Shuichi Yoshida's novel "Parade" (above right) to the big screen and now with the help of "Death Note" and "Battle Royale's" Tatsuya Fujiwara that is going to happen. Fujiwara will be heading up an ensemble cast that also includes Karina, Shihori Kanjiya, Keisuke Koide, and Kento Hayashi who will be playing a group of young men and women who are all sharing a 2LDK (two bedrooms, living room, dining room, and kitchen) apartment. The strange thing is that even though they live in such close quarters Fujiwara's character Naoki, a young man who works at a film distributor, doesn't really know his roommates: Miki, an illustrator, Kotomi, a NEET (Not currently engaged in Employment, Education or Training), and Ryosuke, a college student. The lives of these four change when a string of disturbing crimes takes place in their neighbourhood and Miki takes in a male prostitute, Satoru (played by Hayashi) to keep him safe.

Yukisada felt a special affinity for "Parade", which won the Yamamoto Shugoro Prize, due to the fact that both he and its author are the same age and both hail from Kyūshū. Both men became friends while Yukisada was penning the script for this film adaptation. Principal photography on "Parade" began last week and will got until mid-next month. A theatrical release is scheduled for sometime in 2010. Thanks to Tokyograph for the details on this.

Great action, but bad acting in the full trailer for Shinichi Fujita's "Yassy"

by Chris MaGee

Here's more action news to follow up on the rather disappointing first five minutes of "Blood the Last Vampire", although the acting in this one is even worse. Regular readers will remember that back in mid-April we reported on a new short action film directed by "Death Trance" screenwriter Shinichi Fujita titled "Yassy". There didn't seem to be much of a story, in fact that teaser trailer looked more like a stunt reel for the film's star Hiroko Yashiki with a lot of kicks, punches and blood set to Marylin Manson music. Now Fujita has released the full trailer for "Yassy" and guess what? It still looks like a stunt reel, but this time with more action, and it's good action, don't get me wrong, but the acting! Oh, it's more painful than any kung-fu chop that Yashiki could unleash!

If you like films like "The Machine Girl", "Hard Revenge Milly" and "High Kick Girl" then follow this link to Nippon Cinema to catch all two minutes and thirty-seven seconds of ass-whupping, but don't expect Shakespeare...

Tokyo gets ready for the 11th Annual Short Shorts Film Festival

by Chris MaGee

Now going into it's second decade Tokyo's Short Shorts Film Festival is getting ready to bring short films from around the globe to four theatres in the Japanese capital from June 4th to 14th. Those attending will be able to catch nearly 100 films from countries as diverse as Spain, New Zealand, The United Kingdom, Canada, Mexico, and Germany as well as extensive representation from across Asia.

Fans of Japanese film lucky enough to be attending will not just be able to enjoy the twelve shorts competing in the Japan's Competition Program, but they'll also get the NEO Japan Program featuring up and coming young filmmakers, as well as the FC Tokyo Program and the Short Story Nagoya Program, the line-ups for which are still to be announced.

What's great for people who aren't making the trip to this year's fest is that the vast majority of the films in this year's line-up have 1-minute video previews on the 11th Annual Short Shorts Film Festival website. Check it out here.