Wednesday, October 31, 2007
Tokyo Attacked by Crows!
After getting back from London things were quite busy. One part of that was a story about Crows: Episode 0 grabbing the top spot at the box office, ending Hero's 7-week reign. Since I couldn't make it to the film at either Pusan or TIFF, I decided to ride up to my local cinema to catch a late show. I made a silly short video (QuickTime, 3m57s, 79.5Mb) on the way there. I shot it on my old mobile phone, so please excuse the quality (I have a better phone now, but the video capture is not as good).
If you don't know the film's story, you can read a good review by Variety's Derek Elley here. I liked the film quite a bit -- probably on par with Sukiyaki Western Django (see my Sept. 16 entry), maybe even a little more. It doesn't have much on its mind other than giving audiences who loved the manga a kick-ass ride through rumble after rumble, but some have praised its depiction of working out problems and succeeding through cooperation. One person at the opening day screening told Miike they found the film to be 「爽快」sôkai, exhilirating. I'd go along with that. You do come out of the cinema pumped -- not unlike Americans would be after a good Rocky film.
I would've liked a bit more development between Genji (Oguri Shun) and his father, especially since taking over his dad's yakuza business is what drives him to fight his way to the top. Kishitani Goro (Like A Dragon, New Graveyard Of Honor) is a great actor but is in low-key mode here, as if he's playing the most fed-up yakuza boss in the world. Loved the casting across the board. The visual comparison above shows just how close they got to Takahashi's original characters. Oguri Shun looks to be the next big thing, but it was Yamada Takayuki (as Serizawa) and Kiritani Kenta as his right hand man that impressed me most. Kuroki Meisa was OK, but mainly window dressing. It seemed to be more a showcase for her singing abilities.
The fights are fast, furious and frequent. The massively bass-heavy thuds are straight out of a video game, adding to the fun. It's violent, but not in a wince-inducing way. But of course, it wouldn't be a Miike film without some nasty treatment of women, suggestions of sexual perversion, and a completely goofy use of CG in one scene. Special mention goes to the blasting soundtrack songs by The Street Beats. Their music gives the movie an extra shot of adrenaline. That's "Eternal Rock 'N' Roll" you hear playing in the video.
According to Pia's exit-surveys, Crows: Episode 0 currently ranks number one in audience satisfaction. And its Yahoo! Japan rating is an impressive 4.33/5 (86.6%).
Update: In the latest entry on eiga consultant nikki (Jap. only), according a survey conducted by a film company (not sure if that means Toho, or TBS or who), the stats behind and reasons for the film's popularity break down like this:
- Ratio of male to female audience members: 43 - 57. This is interesting as Crows is such a teenage boy's (and overgrown boy's) manga.
- Teenagers make up more than 50% of the audience (I'd say that jives with the late show I saw).
- Main draws for the film break down as: subject matter (27%), fans of Oguri Shun (17.8%), fans of the original manga (17.3%). Not sure if "subject matter" excludes fans of the manga. Also no indication of what makes up the other 37.9%. Maybe a little Kuroki Meisa here, a little Miike there, little Yabes and Yamadas somewhere, a little Street Beats elsewhere.
Arghh, enough stats. See the movie (or any movie) and enjoy it.
I want this shirt.
*Thanks to a great little site called Media Convert that took my cellphone's .asf file and converted it to QuickTime.
Monday, October 29, 2007
わざわざニューヨークに来た！
Fans at Morrissey's 5-night residency at New York City's Hammerstein Ballroom, which ended yesterday. That's a young Richard Burton on the backdrop.
Why Don't You Find Out For Yourself?
The sanest days are mad
Why don't you find out for yourself?
Then you'll see the price
Very closely
Some men here
They have a special interest
In your career
They wanna help you to grow
And then syphon all your dough
Why don't you find out for yourself?
Then you'll see the glass
Hidden in the grass
You'll never believe me, so
Why don't you find out for yourself?
Sick down to my heart
That's just the way it goes
Some men here
They know the full extent of
Your distress
They kneel and pray
And they say :
"Long may it last"
Why don't you find out for yourself?
Then you'll see the glass
Hidden in the grass
Bad scenes come and go
For which you must allow
Sick down to my heart
That's just the way it goes
Don't rake up my mistakes
I know exactly what they are
And ... what do you do ?
Well ... you just sit there
I've been stabbed in the back
So many many times
I don't have any skin
But that's just the way it goes
Wakamatsu Kôji Goes Poaching
Today was the closing ceremony of TIFF (you can check the list of winners here). I was glad to see a maverick such as Wakamatsu Kôji (若松孝二監督) pick up the top prize in the Japanese Eyes section for his latest film United Red Army (Jitsuroku: Rengô Sekigun - Asama Sansô E No Michi, 『実録・連合赤軍―あさま山荘への道程』). I snapped the above picture when my friend Marion Klomfass of Nippon Connection (and here) presented Wakamatsu with his award. A longtime TIFF attendee, Marion was chosen to be on the Japanese Eyes jury -- good for her. Didn't get to see the film myself as I was away, but hope to rectify that soon at one of the four all-night preview events before the film's spring 2008 release.
Later at the press conference Wakamatsu spoke about how the original cut was 4 hours, but he had to cut it down to three or the exhibitor wouldn't show it. He said he'd like to take his next film on the road himself, which directors would do once upon a time, and made an open pitch to potential investors. "Don't worry, it'll be a good movie!" he laughed. You can see more photos from the film's screening here.
Update: Mark Schilling provides more insight into Wakamatsu's movie as well as an overview of the whole Japanese Eyes section in this Japan Times article.
Friday, October 26, 2007
Return From Rondon
Got back to Tokyo on Friday after short, whirlwind trip to London to attend my Aunt Anita's memorial (see most recent BBC video here). The Westminster Hall event was packed with some 2500 people and included speakers such as Alan Rickman, Emma Thompson (more on her below), the heads of Greenpeace and Amnesty International UK, and Robert King Wilkerson, 
the only one of the Angola 3 to be released (also see here, where Anita receives "Eternal Thanks"). The event culminated with a march ending at the National Theatre as well as marking the launch of the I Am An Acvitist campaign, which is worth checking out.
It of course wasn't my first time to London, but I had never really formed an impression before. For art and architecture, it's excellent. The BFI, National Portrait Gallery and Tate Modern (Doris Salcedo’s "Shibboleth"!) were all fantastic. For prices, never mind Tokyo, London is an absolute rip off! And the tube is a rattling, rumbling affair with zero charm and some seriously filthy stations. I forwent my usual hotel standards and stayed one night at a place along the Docklands Light Railway (seen in 28 Weeks Later I believe?) -- yikes. 
Had some amazing Indian food near Piccadilly Circus. What is the big deal with that area? History notwithstanding, it pales next to Shibuya etc. (check out the ad on the double-decker passing in front of the Tower Of London).
It was good to bump into old acquaintance Yamashita Nobuhiro on the flight over (and back). His film The Matsugane Potshot Affair was showing at the BFI London Film Festival (see here).
As soon as we came through the arrival gate at Heathrow, we noticed a film shoot inside the terminal with Dustin Hoffman and Emma Thompson (must be Last Chance Harvey). I'm a major fan of the Hoffman who was in Straw Dogs, Papillon, Marathon Man and All the President's Men.
This post has come to you from Wired Café in Shibuya, which unfortunately has no non-smoking seats. I'm decompressing after long-winded coverage of the final day at the Tokyo Fest (a little bit on that in the next post).
Sunday, October 21, 2007
Tokyo Fest Opening Ceremony Video
Will be out of the country this week, back just in time to catch the closing ceremony of TIFF. You can view a 2-hour video of the red carpet procession (complete with phalanx of amateur ballet dancers) and opening ceremony here.
The screen grab is one for the otaku -- director Oshii Mamoru and his female cast from omnibus film Eat and Run — 6 Beautiful Grifters (Shin Onna Tachiguishi Retsuden,『真・女立喰師列伝』), which will have its world premiere in the Japanese Eyes section today. If anybody sees it and feels like posting an opinion on it, or any of the other films in the JE section, feel free.
Tuesday, October 16, 2007
The Little Girl Who Lives Down the Lane in Tokyo
Stop the presses -- I actually had an enjoyable day at Roppongi Hills. I was there for a press conference for the Japanese release of The Brave One. Joel Silver, Jodie Foster and Neil Jordan were there to answer questions ahead of tomorrow's "Yellow Carpet" premiere (following the advertising's jaundiced colour scheme). It also gave me a chance to test out my new (used) Nikon D50 SLR. Still have a lot to learn.
I saw a screening of The Brave One last month and enjoyed it well enough. I'm a fan of Jodie Foster -- you got a problem with that? I had a brilliant question about how the film's score pays homage to Bernard Herrmann's music for Taxi Driver (his final work) and the parallels between Travis Bickle and Foster's character of Erica, but I was denied.
As I was leaving RH I noticed this hoarding for the upcoming Tokyo International Film Fest. It's a curved wall with mounted placards of all the competition titles with sheets of water streaming down its facade. TIFF actually created something tasteful... Posters for films in the other sections are also placed around the complex, such as Kim Ki-duk's Breath.
Sunday, October 14, 2007
Dress Up As a J-Horror Film For Halloween
As mentioned in my September 2nd post, my cover story on Japanese horror for iNTOUCH magazine is out, just in time for Halloween.
iNTOUCH is a high quality not-for-sale (unfortunately) publication for the Tokyo American Club's 6000 members in Japan and abroad. The piece spans from the literature of Rampo and Hearn to where "J-horror" is now (an "ambulatory corpse growing some curious limbs" is my final estimation). Thanks to The Ring producer Christine Iso, Tom Mes, John Williams and of course Nakata Hideo for their valuable insight.
One current development that didn't make the final edit of the piece was mention of the Don't Look Up remake. I talked to the producers at last week's Pusan Promotion Plan (PPP). The history of the project is longer than I thought, going back to the box office heyday of J-horror, with Nakata himself followed by a French filmmaker attached as directors along the way. Nonetheless, it's looking good for Fruit Chan's version (see details here). "I am very excited to take this Asian horror and shoot it in the cradle of European Gothic Horror, the land of Dracula and vampires," said Chan.
Saturday, October 13, 2007
Kurokawa Kisho (黒川紀章) 1934 - 2007
Was surprised to read the news yesterday that famed architect Kurokawa Kishô (黒川紀章) died suddenly of heart failure at 73.
I didn't know him, but I spent a couple hours with him at his offices when we interviewed him. He was a unique man with his own style and seemed to have an interesting background beyond just architecture (obviously including politics). A famed product designer who was working with him on a new business hotel project told me he really liked the ladies, too. He was married to beautiful actress Wakao Ayako (若尾文子).
You can watch my two part Kurokawa short documentary on this site (QuickTime) and Tokyo Art Beat (YouTube link). See my August 10th entry for details on Part 2 and my July 3rd entry for details on Part 1.
Apparently his favourite soba shop was "Towada" in Asakusa -- will have to visit next time I'm there.
Friday, October 12, 2007
Back From Pusan
It was a great week in Pusan, which is like a mini Cannes. Learning curve was very high, many words were written, many parties were attended, much Korean food and soju had, with side orders of gossip and insights into business, unfortunately only four films seen (including the fantastic Ploy). Ocean view room at the Grand, 4-floor market 8 floors above. Put a lot of names to faces and met new faces. Did a little job on the side which helped lead to what looks like a done deal Japan/Korea co-prod. Our Screen team rocked, and the collaboration with PIFF on Star Summit Asia went well. Pusan is less than a two-hour plane ride away but felt far from Japan. Will definitely be there next year.
Weekend off.
Tuesday, October 02, 2007
Kabuki and Yamamoto
Too busy for the old blog lately. Hopefully more time and exciting news in November.
I caught my second kabuki performance yesterday (read about the first in my January 2006 entry). We attended the first show of the fall season at Ginza's famed, thrice-destroyed Kabuki-za theater.
The opening story was The Red Battle Coat (Akai Jinbaori,『赤い陣羽織』), an amusing comedy of infidelity and identity theft. This year's Yamamoto Satsuo (山本薩夫監督) retrospective at Tokyo FILMeX features his 1958 adaptation of the story for Shochiku (given the English title The Scarlet Cloak for the screening). Of course, Shochiku began as a kabuki company in the meiji period, when Kabuki-za was first built (with more westernized architecture than it has now) and has managed the theater since around 1913. 
Looking forward to seeing the new colour print (in "Shochiku Grand Scope") and making my first kabuki/film comparison. Plus, it stars hangdog-faced Itô Yûnosuke as 'oyaji', which is perfect casting (not to mention kabuki legend Nakamura Kanzaburô XVII). Itô was in Kaachan, which we subtitled for FILMeX' Nakagawa Nobuo retrospective a couple of years ago. Fittingly, the story was also adapted into Japan's first ever colour TV drama in 1959, broadcast by NTV.
The evening performance (we saw the matinee) was of ghost story Kaidan Botan Dôrô by Sanyûtei Enchô (another of his rakugo served as the basis for Nakata Hideo's Kaidan). Yamamoto also adapted this into The Bride From Hades (Botan Dôrô, 『牡丹燈籠』), which is also part of the retrospective.
