Originally planned on making something very different but since that analysis got me in the mood, why not just capitalize on the momentum and make something that will help people get into stuff?
So here we are with the first installment of what will without a doubt be an ongoing series where I'll act as your (mostly) benevolent curator who'll guide you through the magical world of cinema.
Today we'll be focusing on Japan's cinematography and I'll showcase what I believe are the best entry points for their amazing scene. Keep in mind that I am far from done exploring what they have to offer, so much so that I am down to update this down the line and I'll be sure to note when doing so. With that out of the way, let's start this sucker!
HARAKIRI (1962), dir. Masaki Kobayashi
For my two cents THE film to get you started. A masterclass in storytelling, presentation and design, "Harakiri" deconstructs the bushido code and criticizes the people in power who abuse and hide behind it. While this in itself is nothing new, "Harakiri" stands out because how dark, unflinching and raw the story is while skillfully jumping between the past and the present and asking some huge, universal questions. As for the story itself, well it's quite simple, a ronin walks in the estate of the Ii clan and demands they allow him to commit seppuku in their courtyard as is tradition.
Thing is, recently, a few ronins did the same thing hoping they would be given alms and dissuaded which they were but a certain point, the clan has had enough and they dispatch one of the "suicide bluffers" in a gruesome manner. Gonna stop myself there but trust me when I say, you're not prepared.
Nearly every shot you see is breathtaking and the camera seamlessly moves between spaces all the while giving you the best possible perspective. Sensational work and this is also viable when talking about performances. Now as much as I love Toshiro Mifune, Tatsuya Nakadai is in my opinion, a better, more versatile actor and his work here is pristine. I really don't understand why this isn't held to the same degree as "Seven Samurai" because it's just as good as that masterpiece.
SANJURO (1962), dir. Akira Kurosawa
Speaking of Mifune and ronins, Kurosawa's "Sanjuro" approaches similar themes as "Harakiri" but does so in a completely different manner. It's a much more lighthearted and comedic affair with young, goofy characters being overzealous or even stupid which our protagonist often remarks upon. However, as much as this is fun, there is no shortage of drama and extremely suspenseful moments, notably the final scene which is why I choose this over "Yojimbo". I won't tell you what happens in it but let's just say that an accident changed the face of cinema forever and you can still feel its ripples to this day.
TOKYO STORY (1953), dir. Yasujirō Ozu
We're gonna leave samurais for a bit and visit Japan after World War 2. Ozu's "Tokyo Story" is widely regarded as one of the greatest art house films of all time and while I am not as thrilled with it as most, I cannot deny its influence and how relevant it remains. Its main theme is as universal as they come - families or rather, their complex and nuanced realm that takes place in a country that always struggled showing emotions, especially after the war. It's a superbly crafted film, packed with subtleties that are shown mostly through non-verbal dialogue. The camera is almost always stationary and positioned very low, mimicking a person sitting on a traditional tatami mat. This will have you off-put a bit because of its (to us Westerners) unconventional nature but you'll get used to it fairly quickly because it fits the grounded perspective of the film perfectly.
Absolutely quintessential Japanese film and remember, be patient because it's worth it.
PAPRIKA (2006), dir. Satoshi Kon
And we're back in... wait, what's this? Oh that's right, anime! My distaste for the medium is well known by this point but, as with everything, there are some real gems hidden in an ocean of mediocrity and here's where Satoshi Kon's unfortunately final feature film "Paprika" comes in. It's a wild ride where dreams, reality and virtual reality constantly clash and no matter how convoluted things get, it's always enjoyable and the constant twists only add to the thrill ride which "Paprika" so clearly is. Plus it never feels cheap unlike "Inception" which clearly "borrowed" a lot of ideas. As far as full length anime go, this is one of the very best to do it and a personal favorite at the time of writing.
SEVEN SAMURAI (1954), dir. Akira Kurosawa
NOW we're back in familiar territory! It was only a matter of time before "Seven Samurai" appeared and yes it's because of its 207-minute run time. As daunting as that may seem, those minutes run by you because this is complete masterpiece and extremely close to what I consider a perfect film. So the fact it's one of the most remade, referenced and reworked works in cinema should not come as a surprise. Won't go into any details because I really want you to experience this is a blind as possible.
RASHOMON (1950), dir. Akira Kurosawa
"Rashomon" was a true game changer. It introduced what is nowadays common in cinema -unreliable narrators and jumps between certain narratives. It's so influential in fact that there is a term named after it. This is enough to justify its classic status but then the film starts raising some really good points that reflect the unchanging nature of man. Insane to think that this came out 70 years ago, given how great it looks, sounds and feels but that's just another testament to Kurosawa's greatness.
THE HIDDEN FORTRESS (1958), dir. Akira Kurosawa
The Kurosawa train continues with the film that inspired this list. If you've read my analysis of that duel scene then you know what to expect. If not, well you can find it here.
Moving on to...
WHEN A WOMAN ASCENDS THE STAIRS (1960), dir. Mikio Naruse
Mikio Naruse! Easily one of the more overlooked Japanese directors but then again, it's not hard to see why considering who his peers were. His most famous work "When A Woman Ascends The Stairs" abandons the usual tropes associated with Japanese female characters and instead depicts a touching story where our protagonist Keiko actually has believable motivations and isn't just screeching and uwu-ing at people. You see, after the passing of her husband, she started working as a hostess to make ends meet and is forced to constantly be one step in front of her suitors and competition. She's smart, charming and plays these games almost perfectly. However, there's a problem, she's 30 years old and living in a notoriously patriarchal society. Three options await her: find a new husband, continue what's she doing or borrow money so she can build her own bar.
Each path has its dangers and it's completely up to her to make the right choice, if there is any.
THE SWORD OF DOOM (1966), dir. Kihachi Otamoto
"The Sword Of Doom" was the film that made Tatsuya Nakadai one of my all-time favorite actors. Unlike all the other jidaigeki films I listed, this is easily the darkest one. It follows Ryunosuke, a rogue samurai who happens to be an extremely talented swordsman but the problems arises when we take a look at his moral code, or rather the distinct lack of it. He basically wanders around Japan and kills without remorse and because of his unorthodox style, he is virtually unbeatable but one swordsman makes him question both his skill and his despicable ways. Witnessing Nakadai tackling such a complex character with grace and nuance was an absolute treat to see but it's far from the only great thing about "The Sword Of Doom". The whole package is in fact stunning and one you should not miss.
KWAIDAN (1964), dir. Masaki Kobayashi
And now for one of the most breathtakingly gorgeous films to be ever put on screen, Kobayashi's "Kwaidan". Consisting of four unrelated folk horror stories, "Kwaidan" is a masterpiece of visual storytelling and a wonderful look into Japan's fascinating mythology and culture. The pace is slow, at times too slow but the whole package is so immersive that this doesn't pose an issue. Oh and the soundtrack is sensational!
KAGEMUSHA (1980), dir. Akira Kurosawa
Last Kurosawa pick is the often overlooked epic "Kagemusha". I say overlooked because most consider "Ran" as his late-era masterpiece but for me, this is the superior film. The story, while grand in scale is in its core intimate as it follows a lowlife thief who starts impersonating a dying feudal lord due to their physical similarities. Pair this stressful role with Oda Nobunaga waiting for the time to strike and you have a guaranteed hit!
HOUSE (1977), dir. Nobuhiko Obayashi
Japan's answer to "Jaws" (what?) is dizzying, avant-garde celebration of cinema. And by celebration I mean a complete assault on your senses. The insanely creative usage of visual tricks and effects, matte paintings, green screens, the bizarre plot and even more bizarre editing style, all these things come together and the results is a film that even after 44 years remains a one of a kind experience. "House" also paved the way for future experimental filmmakers like...
WHY DON'T YOU PLAY IN HELL? (2013), dir. Sion Sono
Sion Sono! At the time of writing I've only seen two of his films and I've already noticed his unique style, regarding filming and especially writing and "Why Don't You Play In Hell?" is a towering example of both. It's a subversive joy ride and the weirdest love letter to cinema I've seen thus far. The story revolves around three side plots but mostly focusing on "The Fuck Bombers", a wannabe film crew that becomes embroiled in an ongoing Yakuza war. Ten years ago before this, Ikegami, a mid-boss led an assault against don Muto and his family and in doing so, Muto's wife brutally assaults her assailants and ends up in jail. Muto promises her that their daughter Mitsuko will star in a film by the time she exists prison.
The problem is that Mitsuko is extremely problematic and a bit of a psychopath and after being in a hit tooth paste commercial as a kid, she doesn't want to do that.
To not spoil further, the culmination is one of the most memorable and insane final acts in the history of cinema and it would be silly to miss it.
LIKE FATHER, LIKE SON (2013), dir. Hirokazu Kore-eda
Last but not least, the Dadsploitation masterpiece "Like Father, Like Son"! For those unacquainted with my Letterboxd adventures, I've come up with the term Dadsploitation to describe films that tackle the overlooked and often toxic child-father dynamic. I've always been a proponent of being open with your emotions and especially if you're a man, seeing how many struggle to do so and here's where this films comes in.
Ryota, our lead character is a cold man whose existence, like so many other Japanese, revolves around his job rather than family. At one point he is faced with a crushing fact that completely changes his and his family's life.
What this fact is I'll keep secret but what I will say is that you better grab a pack of tissues because this is an emotional rollercoaster that managed to move me to tears.
And that about does it! Thank you for reading and I am really looking forward to your feedback, hopefully this guide will get at least a few people into this country's magnificent cinematography.
Comments