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Tokyo Tower

Tokyo Tower (2005)
Directed by: Minamoto Takashi

I really didn’t like the plot of this film because of my movie preferences (I cannot relate to the characters, that’s why), but what I noticed in this movie is that it is not really heart-wrenching, but it pinches your heart in one way or another. I also think that people who have no background or whatsoever about the Japanese culture will probably have a hard time dealing with the story. Or maybe not, as the way women were treated here is most likely familiar to some. I guess Tokyo Tower as a love flick is certainly more than all the sweet meetings or the steamy love scenes — it makes one think of one’s society, on how age and social expectations really affect one’s decisions and relationships with other people. More »

Dolls

Dolls (ドールズ, 2002)
Director: Kitano Takeshi
Watching Dolls is like watching a modern version of Double Suicide in a less brutal, more “artsy” form. This is the second time I’ve seen a movie directed by Kitano “Beat” Takeshi (I’ve seen a couple of scenes from Hana-bi, since one of my classmates did a report on Kitano) so somehow I already know what to expect in this film. I have to agree that Dolls is very different from, say, Hana-bi or Zatoichi because the latter two are violent, while Dolls is quiet (well, majority of his films have this tranquil feeling but there’s still the impending threat of violence here and there) and heart-wrenching. The cinematography is amazing, and I love the portrayal of the lead characters (played by Nishijima Hidetoshi and Kanno Miho). More »

Shinjû: Ten no amijima

Shinjû: Ten no amijima (心中天網島 | Double Suicide, 1969)
Director: Shinoda Masahiro
This is another “artsy” film whose cinematography I really like (although Suna no Onna is still at the top of my list). Double Suicide is a 1969 film directed by Shinoda Masahiro, and is based on a bunraku play by Monzaemon Chikamatsu. The story is about a paper merchant who spent his money, fortune and his relationship with his family in order to be with his geisha mistress.

The truth is that I really dislike the plot. I even hate the lovers in this film. Sure, they died, but I cannot symphatize with them. I feel sad for the male protagonist’s wife, but I also think she is equally stupid. I am, and will always be, against the idea of taking one’s life. I wonder why victims of suicide manage to overcome the fear of death and successfully take away their lives. Anyway, despite of my negative opinion towards the plot, I really like how the film was made. It was discussed in class that there are elements of kabuki and bunraku techniques in the film. The people who wear black clothes (who act as puppeteers) seem distracting, but I find their presence a bit refreshing. To some people, they would find it unique, but since Shinoda is trying to remind the viewers where the story of Double Suicide came from (that is, from puppet play), the presence of the puppeteers are traditional. I love the tableau and the acting, as well as the texture of the whole film — it’s modern and traditional at the same time.

Technorati tags:
Double Suicide, Shinjû: Ten no amijima, Shinoda Masahiro, Monzaemon Chikamatsu

Suna no Onna

Suna no Onna (砂の女 | Woman in the Dunes, 1964)
It’s been a while since I’ve seen a movie as sensual as this. Suna no Onna is a 1964 film by Teshigahara Hiroshi, and is the movie version of the book written by the Japanese author, Abe Kobo. This movie won the Special Jury Prize in the 1964 Cannes Film Festival. The movie is about an entomologist (name was witheld until the end of the film) who was held captive by the local people in a sand pit where a widow was working in order to keep out the sand away from her house. He tried escaping but he failed, and so the movie shows his attempts to escape, and his relationship with the young widow. The movie is about identity and freedom.

I love the way how “artsy” this film is. The way the sand was depicted was simply marvelous — the “shape”, the ripples in the sand, even its movements. I also love the extreme close-up shots; how the sand is sticking on one’s skin seem very sensual and even erotic. I think that I love this film more for its cinematography than for the plot itself, but nonetheless, it was a great film to watch.

Technorati tags:
Suna no Onna, Woman in the Dunes, Teshigahara Hiroshi, Abe Kobo

Rashomon

Rashomon (羅生門, 1950)
Director: Kurosawa Akira
I guess some people will recognize the name of the Japanese director Kurosawa Akira because of his movie Seven Samurai. However, I learned that Rashomon is also a well-known movie of his, and it was also the recipient of Golden Lion Award in 1951.

Rashomon is the film version of two of Akutagawa Ryunosuke’s works, Rashomon and In a Grove. I learned from our lecture (prior to watching this film), that the framework of the film was based from Rashomon, but the plot is based from In a Grove. It’s about a murder that happened in the mountains and how the statements of the people involved in the crime are all different.

Watching this film reminded me of my Social Psychology class and the movie, 12 Angry Men, mainly because of man’s tendency to inaccurately tell events (i.e. giving a statement in the courtroom). However, the movie’s aim is more of the philosophical side, and poses the question whether there’s an absolute truth and absolute morality. It asks if we, human beings, lie just to make ourselves look good compared to others.

Compared to the previous films I’ve seen by Mizoguchi and Ozu, the shots in Rashomon are almost like the same shots that we see on films today. I also like the idea that each of the characters’ statements seem real because of the way the scenes were shot. When you see one statement/narration by one character, you think that he/she is telling the truth, but as soon as the other scene was presented, you will think otherwise, or you will get confused. Actually, I don’t even know who is telling the truth, the only person I believed in that film is the monk.

Technorati tags:
Rashomon, Kurosawa Akira, Akutagawa Ryunosuke

Ugetsu Monogatari

Ugetsu Monogatari (雨月物語 | Tales of Moonlight and Rain, 1953)
Director: Mizoguchi Kenji
This proved to be a better movie than Zangiku Monogatari. I am not saying this in terms of cinematic techniques used by Mizoguchi Kenji, but in terms of his treatment of women. While the women protagonists here suffered as well, I think they were at least at bit “empowered” in this movie, compared to Otoku on the earlier film I’ve mentioned.

But when talking of this movie in terms of Mizoguchi’s style, I cannot say that this is better than the other because there were differences in the way the movie was shot. In Zangiku Monogatari, the shots were long (a typical characteristic of Mizoguchi’s films), but here in Ugetsu Monogatari, the shots were shorter. I think it’s because of the period depicted in the films (Zangiku’s during the Meiji era, and in Ugetsu, during the Sengoku Jidai).

It is interesting to note that this movie’s plot is inspired by both Japanese and Western stories, namely Ueda Akinari’s Ugetsu Monogatari and Guy de Maupassant’s How He Got the Legion of Honor.

Technorati tags:
Ugetsu Monogatari, Mizoguchi Kenji

Mezon do Himiko

Mezon do Himiko/Maison de Himiko (メゾン・ド・ヒミコ | The House of Himiko, 2005)
Director: Isshin Inudo
I was pretty reluctant when I read the summary of this film. For some reason I thought that it won’t really appeal to me, but then again, I find the plot kind of different so I decided to watch it. It turns out that I enjoyed watching Mezon do Himiko.

The story is about Saori, who was summoned by an attractive man named Haruhiko who claims to be the lover of Saori’s father. According to Haruhiko, Saori’s father, Himiko, is now staying at an old nursing home (for gays) called Mezon do Himiko/Maison de Himiko, and is dying of cancer. Haruhiko wanted Saori (who is having trouble making ends meet) to work part-time at the Maison as a caretaker. Saori was first reluctant but ended up going because of her financial status. And so thus the start of Saori’s relationship with her dying father, the elderly gays inside the Maison, and Haruhiko himself. More »

Lovely Complex

Lovely Complex (ラブコン | 2006)
Director: Ishikawa Kitaji
Formulaic teenage romantic-comedy. Sobra. Very predictable, very colorful (literally and figuratively). I am not sure if the movie closely followed the plot of the manga, but I am sure that I was entertained when I watched this film. Kababawan na lang talaga, pero nakakatuwa. At nakakakilig.

The story is about a tall girl named Koizumi Risa who is often rejected by the boys she liked because of her height, and a boy named Otani Atsushi who also has the same experience as Koizumi, but this time, it’s because of his small stature. It didn’t start well between the two because they’re always bickering, but by some twist of faith, they found themselves sharing similiarities (i.e. they both like a rapper called Umibozu). An incident that took place in Christmas made Koizumi realized that she will probably have to break her promise not to date (or to like) a small guy because she’s starting to fall for Otani. The whole story is basically how Koizumi is going to handle her feelings and eventually, Otani’s reaction towards his friend’s feelings.

Napaka-common talaga ng script ng pelikulang ito, but I enjoyed it a lot. Most of the scenes are exaggerated, even Koizumi’s facial reactions. They’re priceless. Over-the-top din ang cuteness ng cast. I think the film is “tacky” in the sense that it’s very bright, colorful, happy and really cute. But I guess these are the selling factors of this film. Nevertheless, for a pure, unadulterated (pwede ko bang gamitin ‘tong word na ‘to?) fun, or if you want to feel like a teenager falling in love (falling in love? really?), then go check out this film. Koike Teppei is cute, too.

Technorati tags:
Lovely Complex, Nakahara Aya

Zangiku Monogatari

Zangiku Monogatari (残菊物語 | Story of the Last Chrysanthemum, 1939)
Director: Mizoguchi Kenji
Nakakainis ‘tong palabas na ‘to. Nevermind that the movie is around 2.5 hours. I was able to see Mizoguchi’s styles that my professor pointed out earlier on the film. Hindi ko lang talaga matagalan yung idea na ang girl ang magsasakripisyo sa guy. ARGH. I freaking hate it.

Zangiku Monogatari is a 1939 film by the Japanese director Mizoguchi Kenji. The story is about a son of a famous Kabuki actor whose acting skills is not at par with his father’s. The protagonist fell in love with his brother’s wetnurse, and this wetnurse was the one who encouraged him to work hard on his art. The protagonist’s family tried to separate them because of their social status, so the two decided to ran away. They had a hard time finding a stable job, but when they found themselves traveling with a group of actors, the main character’s acting was polished and in the end he was able to regain the respect of everyone, but it’s all because of his wife’s sacrifices. At kapag sinabi kong sacrifices, sobrang dami talaga kaya naman nairita ako nang husto.

Damnit. Nevermind the fact that their love story is oh so predictable. I also appreciate the kabuki scenes, but what really bugged me throughout this whole fim was the idea that Toku (the female) has to sacrifce everything just to help her husband reach his dream. People will justify that it is love, but damnit, I cannot see the reason why Toku did not even spare a piece of love for herself. Pfftt.

Yeah, I know. I guess out of context na talaga yung reaction ko. Dahil baka ganoon ang mga babae noon. But as a person who watched an old movie, siyempre ang reaction ko, ‘yung most likely reaction ng ilan kapag napanood din nila ang palabas na ‘to. Ayoko nang panoorin ito, naha-high blood lang ako.

Technorati tags:
Zangiku Monogatari, The Story of the Last Chrysanthemum, Mizoguchi Kenji

Umarete wa mita keredo

Umarete wa mita keredo (大人の見る絵本　生れてはみたけれど, | I was born, but…, 1932)
Director: Ozu Yasujiro
For a black and white silent film, I think that this is a good one. This is also the first Ozu Yasujiro film I’ve seen.

The story is the typical family-oriented plot that I usually see on the movies or on the tube, and also a characteristic of Ozu’s films. It is light-hearted, and I think that the “disagreement” scene between the older son and the father is priceless, and is something that happens in real life. I also think that the kids in this film really made the whole story interesting. Their funny antics, which I think everyone experienced, at some point in our lives, are, well, funny. It’s so embarrassing because I was laughing the whole time while this film was being shown in class.

I think I have a lot of things to say about this movie, but I’ll save my in-depth opinion for my film review which is due on Monday.

Technorati tags:
Ozu Yasujiro, Umarete wa mita keredo, I was born, but…