Japan – Films – Page 2

January 2, 2006March 12, 2006

Ozu youth

Ozu Seishunkan, Matsusaka, Mie: click for larger

Since I began my journey more or less with Ozu, it was a nice feeling to complete a circle of sorts and end my trip (more or less) by making a visit to the Seishunkan in Matsusaka (Mie prefecture). seishun means youth and the seishunkan is a museum dedicated to the period of the great Japanese filmmaker’s youth (from age 9 to 19, approximately) that he spent in Matsusaka. The museum is housed in a small building made to represent an old-time small town Japanese movie house, and was built on the site of the former Ozu family home (razed in a 1950s fire).

I’m not sure how many visitors they get, as it was clear that the person working there made some calls while I was watching the introductory video and shortly after two older gentlemen who would not have been out of place at a San Francisco beatnik cafe showed up. I’m not exactly sure how they were affiliated with the museum (they seemed to have more access than volunteers), but they proceeded to spend the next hour giving me a personal tour of the exhibits and digging out all manner of albums and diary copies and scrapbooks, and regaling me with all sorts of stories about Ozu’s youth. (I wanted a Japanese workout on this trip and I sure got one today.) I really am indebted to the kindness shown by these gentlemen. It was appropriate that the man who did most of the talking reminded me of my former teacher who first introduced me to Ozu’s beauty.

I’m really glad I made the effort to make it there, as out of the way as it was, though I regret that I didn’t allow more time to explore the town itself (there’s a map available from the museum which notes the places of significance to Ozu’s life).

October 9, 2005

Temptation Island meets The Last Samurai

I just noticed that the trailer for Memoirs of a Geisha is online. As all movie trailers seem to do, it makes it look like one hell of an action packed flick. Of course I was keen to see if those murmurings about pancake makeup being deemed too scary were true, but the jury is still a bit out on that one. I did see some of the white stuff, but frankly I’m not sure how often geishas/maikos wear it, or in what situations they’re required to.

While the film has a bit of a train wreck waiting to happen appeal to it, and while the hormones wouldn’t mind getting more face time with the Chinese leads (especially Michelle Yeoh), I couldn’t help but get a sickening feeling watching the trailer. Hard to pinpoint, but something due to that manipulative nature of trailers, the way the edits and the soaring violins and suspense-laden percussions work their magic. Temptation Island meets The Last Samurai.

A fictionalized trailer (as noted) about a fictionalized production (Chinese actresses, cardboard Gion, et al.) about a fictionalized account (Golden). One never expects the real deal with these things, but do we much consider how far away they actually are?

November 1, 2004

A film I deem too predictable to be surprised by

This is the kind of thing that just gets my goat, though naturally I find none of it surprising. In a Guardian piece about the Spielberg-produced film Memoirs of a Geisha, based on Arthur Golden’s best selling novel, there was this little tidbit:

The geisha’s traditional white make-up […] has been deemed too scary for American audiences.

Like I said, how can one be surprised when sappy Spielberg is involved, producing an adaptation of a book that comes already laden with a LOT of baggage? Nevertheless, I found it amusing that the film’s own adviser on all matters geisha, Peter MacIntosh, is quoted in the article as saying “It’s not being made for a Japanese audience and it looks like they’re going to juice it up a bit. Anyone who knows something about Japanese culture might actually be appalled by the whole thing.”

And can one be surprised when the lead role is played by the Chinese Zhang Ziyi with a support cast that seems partly made up of Japanese, partly of Chinese? (In digging around, found this news story about a South Korean actress who turned down a part in the movie because, as she said, “Even if it is Hollywood, I don’t want to start by playing a Japanese geisha. It’s a matter of pride.” A loaded sentiment coming from a Korean woman, but best left to another discussion.)

And can one be surprised by a production that didn’t even have the forethought to snap up the .org domain for memoirsofageisha, leaving it available for an enterprising self-described “New Yorker-American-Japanese-LA-based writer and actor” named Keisuke Hoashi, who is using the site for as he tells it, “intelligent commentaries on American Asian issues, but with a perspective completely contrary to those from the typical ‘Asian American’ crowd.” His thoughts on the “Geisha” film and book are not surprising, nor are they predictable.