Noteworthy Films of 2014: The Wind Rises

2014 proved to be a turbulent and worrying time for Studio Ghibli. Miyazaki’s “official” retirement,  and the studio’s announcement of radical in-house changes prompted fans to fear the worst. Yet it was a relatively busy period for Ghibli with the releases of The Tale of Princess Kaguya and The Wind Rises in the west and the unfortunately disappointing When Marnie Was Here in Japan. Being a massive fan of their work, it was slightly shocking to read the headlines so soon after their recent accession to the global limelight. It’s therefore fortunate that Miyazaki’s long, acclaimed career ends on a distinguished high with The Wind Rises. 

A story of perseverance, drama and romance amidst pre-war Japan, The Wind Rises continues Ghibli’s more realistic and grounded approach to it’s narratives. While definitely more light-hearted than Grave of the Fireflies, The Wind Rises still touches on some very mature themes even with it’s undercurrent of humour and tenderness. While it avoids to really delve into the heavy themes of war as Japanese cinema tends to do (my article), and constitutes more of a fictionalised version of Jiro Horikoshi’ s career in Japanese military aviation, the story is a thought-provoking and genuinely poignant one. 

The flowing and dynamic nature of the studio’s iconic animation style is present as always. With the aeronautical nature of the story, the sense of speed and fragility as prototype aircraft tear the skies is exhilarating and gorgeous to watch. Body language and interactions are intricately depicted giving vast amounts of personality to the characters and film in general. As with all their previous films it’s the small details that really add uniqueness to Ghibli’s work. Whether it’s their careful attention to a bookcase in the background or the light glistening off the sea, their pursuit for perfection is evident. As too is Joe Hisaishi’s impassioned score. 

Apart from a rather rushed conclusion, The Wind Rises is a touching and beautiful piece of cinema.   With a career spanning 5 decades, Hayao Miyazaki has continued to deliver heart-warming and enchanting stories and characters to fans of animation and general cinema. I have a sneaky suspicion that this won’t necessarily be the last we see from him, but looking back it’s been an esteemed career that will entertain and captivate children and audiences forever. 

RespawningCouch Podcast: Audio Review: I Wish

Hirokazu Koreeda's latest film, originally released in 2011, gets its international releases this month. But does it maintain the directors fantastic form?

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The Woodsman and the Rain Review

Released in Japan back in 2011, The Woodsman and the Rain took the Special Jury Prize at the Tokyo International Film Festival, and was well-received by the critics. However Japanese drama isn’t a genre that has garnered the same reaction from Western audiences as the likes of Battle Royale or Spirited Away. While Yasujiro Ozu’s and Akira Kurosawa’s work during the 1950/60s have become classics in International Cinema, the modern additions to the genre have been relatively slim. The likes of Hirokazu Koreeda and the late Shohei Imamura have shown the nation’s potential to produce sophisticated and heartfelt cinema. However whether it’s the inability to balance the right emotional tones with the right drama, or the genuine difficulty the genre presents, Japan’s modern attempts haven’t gained the recognition they deserve. 

Directed and co-written by Shuichi Okita, the film follows Katsuhiko (Koji Yakusho), a lumberjack who has recently lost his wife and fathers a unenthusiastic and distant son. Lonely roaming around the woods, he is soon embroiled in Koichi’s (Sun Oguri), an unsettled young filmmaker, low-budget apocalyptic/ zombie film set in the local area. Over the course of the filming schedule, the two form an unlikely friendship that gradually acts as a “remedy” to their troubled lives. The film’s drama is a simplistic affair that never strays too far away from the tropes of the genre. The beautiful, rural landscapes and the close-knit communities create a alluring backdrop that suits the rather tranquil nature of the characters and the film’s atmosphere. Meanwhile the zombie B-Movie element not only serves as the source of the film’s comedy but adds a level of charm that slowly unravels the film’s characters. 

Again, as I discussed in my review of Jiro Dreams of Sushi, Woodsman offers a commentary on Japan’s divided sense of principles and ideologies between its youth, traditional and “mature” groups. Similarly Woodsman paints a picture on Japan’s rural vs urban discussion that is highlighted by the fictional filmmaker’s snobbery and disassociation with anything outside the city landscapes that have come to symbolise Japan’s modernity. It’s definitely an interesting element that, in itself, offers a strong character study for the film to really build on. However the typical conventions of the “feel-good” drama start to seep into the final act.  While the bubbling sentimentally doesn’t hurt the film, it’s an annoyance that prevails into the “whimsical/ magical” ending.

Koji Yakusho offers his usual sterling performance that manages to convey both the tragedy that his character clings onto, and the childhood intrigue which returns through his involvement in the filming process and the friendship with Koichi. Sun Oguri himself gives a minimalist portrayal of an anxious and rather clueless young director that steadily gains his confidence. It’s a solid performance, but one that doesn’t have the narrative dimensions and written depth to particularly stand out. Meanwhile the rest of the cast do relatively well in their rather painfully insignificant roles. It’s clear that the film is focused on its two leads, and for the most part there is strong effort to create a chemistry that is charming and natural. 

Overall The Woodsman and the Rain offers a feel-good drama that has plenty of appeal and a clever sense of humour that remains subtle and fitting in its approach. Shuichi Okita is a rising talent that seems to clearly understand the genre in a sophistication manner, and while Woodsman isn’t a “tour-de-force” its a notable and enjoyable release that will most likely leave you with a smile. 

7/10 

Departures（送り火と) Review

Departures（送り火と）(2008)

In the history of the Academy Award’s ‘Best Foreign Language Film’ category, Japan has never won the award. The likes of Akira Kurosawa and Hiroshi Teshigahara have been nominated, and have gained ‘Special/ Honorary Awards’, yet failed to gain the prestigious  title. However in 2009, Departures managed to beat stiff competition and succeed in the 81st Academy Award ceremony, to which many film critics were surprised. Yôjirô Takita, the director, has never really ‘exported’ his work to the audiences of ‘West’. His 2003 ‘When the Last Sword is Drawn’ was his last film targeting a larger crowd, and managed to gain a positive reception. However, he has tended to stick to his Japanese ‘routes’, with over-the-top, demonic samurai films, until 2008. In some regards, Takita took a huge risk in Departures. While death is seen as a very formal and almost ‘beautiful’ ceremony in the film, the reality is that it is a strong taboo in Japan. The director and the executives backing the feature, were worried at the reaction of its Japanese audience, not predicting the commercial and critical success it would become. In relation to a Western audience, it’s fascinating to see an aspect of Japanese culture that has never truly graced the screen. It’s a film that does justice to the subject matter, whilst encasing it in a realistic, emotional yet engrossing drama. 

The plot follows Daigo Kobayashi (Masahiro Matoki), as he finds himself unemployed after  the orchestra he plays cello for is dissolved. Therefore he takes the decision to move back to his hometown with his wife, and find work. Stumbling on an classified ad stating ‘Departures’, he believes that the opportunity is that of a travel agency. But, he soon finds out that it is for a position as a funeral ‘encoffineer’ (cleaning, and ceremonially preparing the deceased for the afterlife). It’s a profession that his wife, friends and the locals look down upon, yet Daigo finds a sense of pride, fulfilment and importance to his work. The story is a simple one, and doesn’t attempt to alter the characteristics or foundations of a drama piece. The unique essence of Departures is the subject matter, Nokanshi. Though the film is based on the solemn reality of death, Takita doesn’t try to overwhelm the audience with a constantly ‘depressive’ atmosphere. This somber crux is prevalent through the film, yet it is intertwined with an entertaining human drama. It takes a more ‘comical’ approach but still understands that it is a serious and heart-felt event in life. The first scene manages to do this brilliantly well. The formal nature of the ceremony and the despondent characters, mixed with the sorrowful score creates a really emotional scene. Yet, when Daigo finds out that the departed ‘girl’ has a ‘thing’, the music stops and the dialogue is awkward but humorous. This scene in particular manages to create the atmosphere and tone of which Departures is taking. 

The acting is great, and realistically played out. Masahiro Matoki is fantastic as our lead character, Daigo. We fully witness his initial anxiety at his new job and his embarrassment, leading to a gradual realisation and transformation in his personality. Matoki clearly prepared heavily for the part; he learnt to play the cello and studied the processes involved in Nokanshi, performing them on the screen. He manages to play his part with enough charm and earnestness, to convincingly portray the character, whilst adding humour. Tsutomu Yamazaki, who plays Daigo’s new boss, Sasaki, is perfectly cast and performs brilliantly. The stern exterior, but laid back personality of the character suits Yamazaki’s style of ‘deadpan humour’. However Ryōko Hirosue, who plays Daigo’s wife Mika, whilst charming feels too ‘childish’ to be convincing in her role. She performs well and a strong relationship is built between husband and wife. But she is somewhat lacking when compared to the other actors/ actresses. But overall the acting is superb and help transpire the story, and film’s tone. 

The cinematography heavily takes advantage of the sweeping vistas of the scenic landscape and setting. It also cleverly uses the changing imagery of the seasons, from the blossom of Spring, to the snowy-capped mountains of Winter, in order to complement the growing nature of the characters. Connected to the visual ‘personality’ of Departures is the musical essence of the film. With Daigo’s character playing the cello, orchestral pieces are constantly integrated into the scenes. Joe Hisaishi composes the score, and as usual, it’s fantastic. Flowing tones and emotional harmonies, create further passion and manage to portray the characters’ experiences and reactions well.

Overall Departures is an amazingly heart-warming drama, which deserves the global recognition and not the flack many have given it. Sure its predictable, and in some manner a little cliché. But it’s all done magnificently well, and better than half the tripe that is nominated for ‘Best Picture’. It explores a side of Japanese culture many haven’t witnessed, in an engrossing and respectful manner. Beautifully shot and superbly acted, its an emotional tale that doesn’t get too involved in ‘artsy’ sentimentality. Its definitely a great watch, and another fantastic export from Japanese cinema. 

9/10

Death Notice: Ikigami (イキガミ) Review

Death Notice: Ikigami  イキガミ　(2008)

Based on a popular manga, Death Notice: Ikigami is another Japanese title that deals with a ‘controversial’ concept, yet frames it in a emotional ‘drama’. I’m currently reading the manga, and its clear that selecting certain story-lines and characters would be difficult to structure in a 133 minute long film. Yet director Tomoyuki Takimoto successful creates a film that balances the multiple plots perfectly and with enough substance, that it allows the audience to gain an emotional attachment to these ‘doomed’ characters. Set in the near future, the film’s plot focuses on a piece of new legislation that the Japanese Government has past. In an attempt to boost national prosperity and create a more discipline society, one in every thousand child is randomly injected with a ‘lethal time-bomb’, which will end their life at the age of 25. Therefore, a Death Notice has to be handed to the sacrificial victim, notifying them that they have 24 hours left to live, and are free to do whatever they want. 

It’s a interesting plot, that certainly follows the ‘controversial’ style of Japanese cinema. This isn’t a Battle Royale-esque film, there’s no over-the-top gore of heavily explicit content. Instead Death Notice is a well constructed film by Takimoto, that focuses on the drama surrounding the ‘victims’ of the ‘Prosperity law’. The film is split between the stories of the 3 ‘victims’ and that of Kengo Fujimoto (Shota Matsuda), one of the deliverers of the Ikigami. We see the various changes, and emotions the characters express towards their imminent death. From a Yakuza member who has the chance to permanently help his ‘disabled’ sister, to a son of one of the MPs supporting the legislation, we explore a range of characters that react very differently to their Ikigami. Some will shock, others will sadden. Alongside these individuals is Kengo who is reluctant to continue his ‘evil’ job. Yet strict surveillance and his personality which separates him from fellow co-worker ‘automatons’, cause a character torn between what he really believes and the forceful nature of his duty. 

Acting-wise, the film is filled with recognisable faces from Japanese cinema. Takayuki Yamada, recently involved in Takashi Miike’s 13 Assassins, plays Satoshi Iizuka who is one of the victims of the policy, and Departures’ Takashi Sasano, plays Director Ishii in charge of the ‘deliverers’. Its a great cast that performs perfectly to convey the realistic drama. Nothing is over-the-top or cutesy as with many ‘live-action’ adaptations, instead Death Notice: Ikigami is serious yet emotional. From the stern looks and remarks of Akira Emoto, who plays the Counsellor, to Riko Narumi playing the charming and likeable, ‘disabled’ sister of the Yakuza member, the film constructs the ‘feel’ and ‘tones’ of the manga quite well. 

Overall, Death Notice: Ikigami has an interesting concept, that while similar to William F. Nolan’s and George C. Johnson’s Logan’s Run, remains ‘unique’ and refreshing. The social commentaries on unemployment, bullying and social withdrawal are used well and not in a forceful, obvious manner. Tomoyuki Takimoto also does a great job, moving away from the stereotypically ‘over-the-top’, ‘comicy’ tones of popular Japanese cinema, to portray a more serious and realistic feature. Yes, the story is that of a manga, but Takimoto frames it in a touching ‘human drama’ that has the ability to induce ‘teary-eyed’ reactions, and doesn’t require knowledge of the source material. It’s a great directed, acted and written film that when the concept is to show the characters question the subject of life, it certainly evokes the audience to do so too.

8/10