キツツキと雨
(Kitsutsuki to ame)
Released: 2011
Director: Shûichi Okita
Starring:
Kôji Yakusho
Shun
Oguri
Kengo Kora
Asami Usuda
Kanji Furutachi
Running time: 129 min.
Reviewed by Marc Saint-Cyr
We first see the woodsman hard at
work felling a tree. In fact, we hear him first, his chainsaw buzzing away in
an otherwise peaceful, sun-lit forest. However, he is eventually interrupted by
a bespectacled man who emerges from the wilderness and, after nearly getting
crushed by a falling tree, timidly asks him to stop working. He explains that a
film crew is shooting nearby, and they need quiet for the scene. The woodsman
gruffly complies. Little does he know that this will in fact be the first
occasion of many in which the film crew will ask for his assistance, the next
one involving tracking down the perfect river for a scene.
Played
by Kôji Yakusho, the woodsman, Katsu, lives a quiet and simple life in the
mountain town of Yamamura. The two-year anniversary of his wife’s death is
nearing, and he lives alone with his teenage son (Kengo Kora), whose laziness
and difficulties in finding a new job have caused some tension to arise between
them. Katsu’s steady routine of neatly preparing meals for himself, interacting
with his three work buddies and cutting down and moving timber is gradually
overturned by the arrival of the film crew. The location scout for the river,
wherein Katsu’s sincere attempts to find the crew a “pretty” spot are initially
rejected for being too impractical for the shoot’s requirements, eventually
leads to another, totally unexpected request: for Katsu to don a wig and
ghoulish makeup and play a menacing zombie for the movie! Afterwards, he is
invited to see the dailies with the rest of the crew, which really sparks his
curiosity and begins to turn his impatience with the demanding moviemakers into
genuine excitement.
As
he first begins to help the film crew, Katsu notices – and actually berates – a
young man with an untidy mop of hair and a sweatshirt who seems all but
paralyzed by shyness, hindering any possibility of being useful to the rest of
the team. He turns out to be Koichi Tanabe (Shun Oguri), the terribly
inexperienced writer and director of the zombie film, which is entitled
“Utopia.” He unsuccessfully attempts to flee from his duties at a train station
and is forced to return to the set the next day, where he is daunted by the
many questions and demands thrown at him by his actors and technicians. Yet
Katsu compulsively returns to the film set and proves to be a source of comfort
and reassurance for the flustered director. One of the nicest scenes between
the two very different men is a lunchtime conversation in which Katsu points
out two pine trees – one twenty-five years old, one sixty, matching Koichi and Katsu’s
respective ages – and says that it takes one hundred years for a pine to fully
mature, suggesting that they naturally both still have some growing up to do.
“The
Woodsman and the Rain” mainly chronicles Koichi’s steady acceptance of his role
as director while Katsu all but pounces on new ways of helping out the
production. He soon starts getting the whole town involved, recruiting its
inhabitants to play pale-skinned zombies and members of an all-female, bamboo
spear-wielding army. The infectious joy and enthusiasm the townsfolk give off
as they devote themselves to the shoot highlight filmmaking as a truly
collaborative event. As in François Truffaut’s classic tribute to the craft,
“Day for Night,” filmmaking helps bring people together in a spirit of fun and
productivity. Notably, there are two occasions when Katsu demonstrates his
talent for predicting the weather: first near the beginning, when a rainstorm
halts the logging crew’s efforts, then later on when another torrential
downpour halt the filming of a crucial sequence. Such scenes, indicating the
woodsman’s instinctive bond with the rain (hence the film’s title), are perhaps
meant to show how the duties of a lumberjack aren’t that different from those
of a filmmaker: both involve hard work and dedication, and are ultimately at
the mercy of such larger forces as nature and circumstance.
Through
the warm bond that forms between Katsu and Koichi, “The Woodsman and the Rain”
illustrates the universal process of discovering and seizing our true callings
in life. This can involve summoning hidden reserves of courage and confidence,
as Koichi hesitatingly experiences, or learning how to manage pre-existing
commitments to family, as both Katsu and his son discover. But such worries can
become so small and insignificant compared to the spiritual nourishment offered
by clear sensations of purpose and passion – whether they come from cutting
down trees or making the next great Japanese zombie movie.
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