Member Login

Member Login

Username
Password *

FC HEADER

April

April (2)

YAEKO'S HUM


YAEKO'S HUM (Yaeko no Humming)


May 15, 2017
Q&A guests: Director Kiyoshi Sasabe and stars Takeshi Masu and Yoko Takahashi

 


3-yaeko3-mance
                       Masu, Takahashi and Sasabe     ©Mance Thompson

Like all fast-graying societies, Japan has not dodged the healthcare bullet. Current estimates put the number of dementia sufferers in the country at 4.6 million, but with 65-and-overs expected to account for over 30% of the population by 2025, that is sure to surge. 

While the government has championed community-wide caregiving, the burden of funding and implementing much-needed initiatives has fallen on NGOs and NPOs at the local level. Yet even with neighborhood watch networks, innovative daycare centers and millions of trained volunteer caregivers, there are simply not enough people involved.

Taking his inspiration from a true story, writer-director-producer Kiyoshi Sasabe means his new film as a wake-up call — a poignant argument against the outsourcing of Alzheimer’s care. “Kindness is the best medicine,” says one of its protagonists, and Yaeko’s Hum amply demonstrates the resulting improvements in quality of life and dignity.

s-yaeko31-mance   s-yaeko35-mance
                     The writer-director often tackles pressing social issues, but this time, it was more personal.  
©Mance Thompson

The film follows the broad outlines of the memoir of the same name by Nobutaka Minami, an educator who not only devoted himself selflessly to the care of his wife after she developed early-onset Alzheimer’s, but did so while concurrently undergoing a series of debilitating cancer operations himself. Sasabe first read the book 8 years ago, and was immediately interested in adapting it.

During the Q&A session following FCCJ’s sneak preview screening, one audience member praised Sasabe’s gifts as a “master tearjerker,” but asked why the film hadn’t been made by a major studio, given the seemingly made-for-mainstream-audiences approach to the subject. The director responded, “I wrote a script 8 years ago and initially planned to make it with a studio. But it’s about an elderly couple, about sickness and caregiving, and that does not sit well with younger audiences. So every major studio and TV station that I went to said no to the project.”

But traveling the Japanese festival circuit with other films, Sasabe was often asked why there were no more films for mature audiences, and gradually realized that Yaeko’s Hum could appeal to older fans.

t-yaeko9-mance   t-yaeko43-mance
                   Yoko Takahashi, an accomplished novelist, returns to the screen after a 28-year hiatus. 
©Mance Thompson

His commitment deepened further when the story took a personal turn. “I lost my mother two years ago, and before she passed away, she suffered dementia herself for 3 or 4 years,” he explained. “My younger sister took care of her, and it was a very challenging time. Whenever I talk with my contemporaries, the topic always seems to come around to ‘What do we do about our aging, ailing parents?’ I think this is a film that Japanese society needs. So I ultimately decided that I would raise the funds and make it independently.”

Sasabe had explored the theme before, in his Japan Academy-Prizewinning Half a Confession (2004) — although that work was equally concerned with the issue of euthanasia, when a husband is arrested for killing his Alzheimer’s-afflicted wife at her request. He had also, as an assistant director, worked on Solitude Point (1998), a story of the enduring love between a Japanese Alzheimer's sufferer and her Korean War-veteran husband.

With Yaeko’s Hum, Sasabe focuses on a relationship that would seem far too good to be true. Except that it really happened.

m-Yaeko047-FCCJ   m-Yaeko050-FCCJ
                   Masu, accustomed to supporting roles, is perfectly cast as the uber-devoted husband.  ©Mance Thompson

The film opens after Yaeko’s death, as Seigo Ishizaki (Takeshi Masu), a retired principal and school board director, addresses an avid crowd. "I cared for my wife for 12 years,” he tells them. “We’d been married for 38 years, so that amounts to the last third of our life together. I watched her gradually lose her memory… but then it struck me… my wife was just taking her time saying goodbye.” As Ishizaki speaks, his memories come alive in a series of flashbacks, beginning with the first signs of the disease in 1989.

As Yaeko’s illness progresses, it soon takes a tremendous toll on the family, yet Ishizaki remains impossibly patient as his wife reverts to childhood. Yaeko (Yoko Takahashi) was once a music teacher, and she retains her love of song; since she cannot remember the words now, she must hum them. When she hears her favorite songs by Shinji Tanimura, her smile always returns. But these are not easy years, and the film doesn’t gloss over the difficulties of home care — the diapers, the mood changes, the tantrums, the disappearance of romance from the couple’s relationship. Yet with the support of the couple’s two daughters, and eventually the entire town, Ishizaki tends to Yaeko’s needs, protects her dignity and extends her life as he bids her a “long farewell.”

Looking far younger than she does onscreen (and younger than she deserves to), Yoko Takahashi thrilled several members of FCCJ’s audience who remembered her early career burning up the screen as the sexy star of such films as Koichi Saito’s Journey into Solitude, Kei Kumai’s Sandakan 8 and Shuji Terayama’s Farewell to the Ark. But Takahashi left the film world to write fulltime. With a successful, ongoing career as a novelist, what was it about this role that enticed her back to acting after a 28-year break?

p-Yaeko110-FCCJ
                                       ©FCCJ

“It’s like getting back on a bicycle,” she told the audience. “Once you learn, you never forget how to ride. It didn’t seem like a long hiatus to me. But when the director asked me to play the role, I did have to think twice. I didn’t have a lot of lines, and I would have to play this person who’s ailing. So I hesitated. With the issue of dementia, you often hear about people becoming increasingly irritable, about them wandering and essentially becoming troublemakers. But Mr. Sasabe wanted me to make Yaeko charming [too], and that’s what really attracted me to the role.” A beat. “But it was a lot easier to play her when she’s aggressive.”

Takeshi Masu, a familiar face from literally dozens of supporting roles on stage, screen and TV for the past 35 years, marks a deeply moving debut in the lead here. Without his convincing portrayal, a fine balance of tender sentiment and gentle exasperation, the film would have collapsed under its own best intentions.

Asked how he prepared to become a saint, Masu admitted, “To tell you the truth, I couldn’t figure out how to approach the role because it was so starkly different from my past roles. But when I went on the set, Yoko-san was there as Yaeko, being really charming, and that helped me want to help her, to be as kind to her as possible.”

Takahashi mentioned that she had prepared for the role by meeting the author of the memoir, Yaeko’s widower, as well as by watching an NHK documentary on the couple.

Because there are flashbacks to the way back, as well as to the more recent past, Takahashi and Masu frequently found themselves tasked with playing their characters at different ages, even on the same shooting day. Masu spoke about the physical challenges of the role: “I played someone who starts at 40 and ages up to 80, so I would have to carefully gauge how slowly to walk or to speak for each scene, so that it would all seem seamless when edited together.”

p-yaeko53-mance
                                                                                             
©Mance Thompson

One foreign audience member mentioned her mother’s dementia and her own surprise at discovering, after moving her mother into a Japanese nursing home, that no one goes to visit their family members. Another viewer discussed how many people in Japan are now dying alone with no chance to be supported by the community, and asked the director whether he would consider making a “more realistic” film about someone who doesn’t have a family or a support system.

“I didn’t want to depict the harsh reality of caregiving,” said Sasabe. “There are so many documentaries about that out there. I wanted to make a film about loving Yaeko, and how love prevails. I wanted it to be a pure love story about this elderly couple, represented by the line, ‘There are limits to anger, but kindness is limitless.’”

He continued, “I want you to see this film as a sort of fantasy. I wanted to depict [the husband] as a kind of superhero. It’s about dreams and about hope.”

Sasabe shot Yaeko’s Hum in the small castle town of Hagi, facing the Sea of Japan, where he has set four previous films. It afforded him not only gorgeous views, but also immense support from the city and its citizens. He hails from nearby Shimonoseki, and in an echo of his film’s message, having a local network has clearly been essential to him.

yaeko poster
©2017 Team “Yaeko’s Hum”

Press Coverage

 

STAR SAND


STAR SAND (Star Sand – Hoshizuna Monogatari)


April 10, 2017
Q&A guests: Director Roger Pulvers, stars Lisa Oda and Shinnosuke Mitsushima


Star Sand-KM-70
                       The emerging director and his two rising stars.     ©Koichi Mori

In a prolific career that has taken him from the US to Russia to Poland to Japan and beyond, American-bred Australian Roger Pulvers has been known primarily as an award-winning author, translator, journalist, playwright, theater director and educator. Despite having famously served as Nagisa Oshima’s assistant on Merry Christmas, Mr. Lawrence (1983), and as co-writer of Takashi Koizumi’s Best Wishes for Tomorrow (2008), he has notched most of his achievements in realms other than film.

But he has just added another feather to his cap: film director.

A familiar figure at FCCJ, Pulvers sneak-previewed his directorial debut, Star Sand, ahead of the world premiere on April 22 at the Okinawa International Movie Festival. When he was asked what took him so long to helm his own production, Pulvers laughed, “I would have liked to make a movie a long time ago. I had a plan in 1990, but the asset bubble burst and I couldn’t.”

Star Sand-FCCJ-049   Star Sand-FCCJ-048

Star Sand-KM-51   Star Sand-KM-54
                                                                Oda and Mitsushima both lauded Pulvers' directorial skills.    Above: ©FCCJ  Below: ©Koichi Mori

He recalled how he’d visited Hatomajima in 1977, first encountering the sparkly star sands (tiny, star-shaped marine protozoa), and hearing that the island had escaped the ravages of war. Some years later, he began thinking about “making a movie about a deserter, making a hero out of a deserter. I think that in times of intense warfare, it is heroic not to fight.” With the 2003 invasion of Iraq, “I remembered Vietnam, and I was very angry. So I wrote ‘Star Sand.’”

The film is based on that story (later a novel in both English and Japanese), an Okinawa-set mystery tale with a powerful message about compassion and quiet acts of heroism during wartime. Calling in favors from his nearly five decades in Japan, Pulvers was able to cast A-list actors like Shinobu Terajima, Renji Ishibashi and Mako Midori, and to shoot on location in Iejima with veteran cinematographer Shinji Ogawa and art director Koichi Kanekatsu (it was the first production ever permitted on the island, which had been destroyed by bombing in 1945). The film’s haunting theme song was written by Oscar-winner Ryuichi Sakamoto, an old friend from Merry Christmas days (which also deals with a friendship between soldiers from opposing sides).

Star Sand-KM-top
                                                                                                                                              ©Koichi Mori

Star Sand jumps nimbly between three distinctly different eras — April 1945, 1958 and 2016 — although its primary action takes place during the horrific Battle of Okinawa on a tiny speck of land remote from the main theater of action. Nevertheless, its inhabitants have all been touched, some in more disastrous ways than others, by the Pacific War. Sixteen-year-old Hiromi (Oda) has recently arrived on the island, while her father goes to work in a Nagasaki factory and her Japanese-American mother stays in Los Angeles. Out hunting for star sand one day, she comes upon two men in a cave. One is Takayasu, a Japanese deserter (Mitsushima); the other is an ailing American deserter named Bob (Brandon McClelland). Hiromi helps nurse Bob back to health, and brings food to the two men, who pledge never to commit an act of violence again. All is well until Takayasu’s brother, a fanatical soldier (Takahiro Miura), discovers the trio and vows to kill them all. Eventually, three of the four people in the cave will perish; we do not learn their identities until a modern-day university student in Tokyo reads a diary discovered in the cave in 1958, and goes on a quest to uncover the startling secret.

Pulvers brought along his two young stars, Lisa Oda and Shinnosuke Mitsushima, both of whom are on the cusp of major career recognition, to the FCCJ event.

star sand-s
                      © 2017 The STAR SAND Team

A popular model since 2012, Oda made her memorable film debut just a year ago, playing a young woman who holds the key to a grisly crime in Keishi Ohtomo’s The Top Secret: Murder in Mind. Although she has also been appearing for the past two seasons as Sena, the pirate girl, in NHK’s television drama Moribito: Guardian of the Spirit, Oda’s acting resume is extremely slender for one so poised. She is not only the protagonist of Star Sand and its emotional center; she also delivers nearly half her lines in English.

Greeting the audience in English prior to the Q&A session, Oda was clearly nervous in front of her first crowd of international critics. “I was delighted to be offered the part of Hiromi, and couldn’t believe my good luck,” she told the audience. “Actually, I was so nervous because I have not had much acting experience. Also, I really didn't know about the wartime history of Japan. The biggest problem was how to be Hiromi with the right emotional responses. It wasn’t easy, but thanks to guidance from everybody, I was able to [play the role]. I'm grateful for the chance to be part of Star Sand.

Mitsushima proved to be as loquacious in person as his Star Sand character is reticent. “Good evening, everyone,” he introduced himself, also in English. “I’m from Okinawa, and I’m very honored to join this film and to be here tonight.” Switching to Japanese, he continued, “When I met Roger, he showed me a photo of an island, and I knew right away that it was Iejima, where I spent a lot of time [visiting] in my childhood. Being from Okinawa, you hear a lot more war stories and wartime experiences, and we see people who still have bullets in their bodies and older people who have lost limbs. The war is part of our being. So I worried about taking the role, since it would mean that I would have to face my identity as an Okinawan and shoulder the sentiments of my ancestors. Also, my grandfather is an American, so I would not have been born if it weren’t for World War II. But I was taken with Roger’s passion. Without him, it wouldn’t have been possible.”

 Star Sand-FCCJ-058   Star Sand-FCCJ-037
                                                    Both
©FCCJ

Pulvers returned his stars’ compliments: “I knew from the very beginning that if I didn’t get Lisa to play Hiromi, no one else could,” he said. “I think there are many among you tonight who will agree that she’s quite miraculous. As for that guy over there [indicating Mitsushima], that Okinawan-American, I thought there wouldn’t be a chance to get him in my movie. But when he saw that photo of Iejima and recognized it immediately, I put my dibs on him. It’s probably the first time a director’s gotten an actor just by showing one photograph.”

Asked how they prepared for their roles, Oda said, “I wouldn't be so pompous as to call my preparation for this role an ‘approach,’ but I will say that the first thing I did was to work with the director on improving my English pronunciation.”

Mitsushima, who’s been acting on stage and screen since 2010, and will appear in five other high-profile films this year (including titles by Takashi Miike, Yoshihiro Nakamura and Hirokazu Kore-eda), mentioned that the rehearsal period had been very helpful. “The character I play doesn’t have a lot of lines, and he’s the symbol of how Roger sees the Japanese — the conflicts, the strengths, the love for their families. I could prepare for that on my own physically, but I wouldn’t have been able to capture the essence of the character without having many, many discussions with the director. He knows twice as much as [the younger actors] do about Japan and Japanese history.”

Star Sand-KM-83-2
               An Okinawa representative invites Pulvers to return soon and make a sequel.                      ©Koichi Mori

He continued, “I decided to not take too cerebral an approach, but just to feel it emotionally, to bring back my childhood memories of spending time in caves. As [the character] says, ‘The world may be at war, but you’re able to breathe when you’re in this cave.’ We actually shot in one of the caves where people hid during the war, and you could feel this intangible power. I would get goosebumps every time we went in. Brandon and Miura-san and I would offer incense and prayers to the deceased each time, to help us connect with that generation.”

Pulvers was asked why he cast himself — in a very small role in the film’s closing minutes — in his own film. “I didn’t want to!” he lamented. “I’ve known [actress] Mako Midori forever; we’re the same age, and I had to play her son! But my producers put pressure on me, probably because they didn’t have money to audition someone else. So the biggest ham actor comes out at the very end.”

Star Sand will be opening in Okinawa before its Tokyo run begins in August, during the annual period of war remembrance, and Pulvers is sure to feature even more prominently in media analyses about the escalation of tensions in Asia. By bravely recasting war’s so-called cowards as the real heroes — the “true messengers of peace,” as he puts it, Pulvers’ first film is a poignant reminder that, even in periods of hatred and brutality, there is also the chance for hope.

Poster-E-s
© 2017 The STAR SAND Team

Press Coverage

 

Recent posts

LOVE AND OTHER CULTS

12:31 Thursday, July 06, 2017

MARRIAGE

00:00 Friday, June 23, 2017

LEAR ON THE SHORE

20:56 Friday, June 02, 2017

TATARA SAMURAI

00:00 Tuesday, May 16, 2017

YAEKO'S HUM

00:00 Thursday, April 27, 2017

STAR SAND

00:00 Friday, April 14, 2017

DON’T BLINK - ROBERT FRANK

12:07 Saturday, March 25, 2017

SNOW WOMAN

00:00 Sunday, February 26, 2017

CLOSE-KNIT

00:00 Sunday, February 12, 2017

SILENCE

00:00 Friday, January 13, 2017
  • Go to top