ANOHITO: THE ONE
October 19, 2015
Q&A guests: Director Ichiro Yamamoto, producer Nozomu Enoki
and actor-distributor Hiroyuki Ono
Two salarymen producers and a theatrical producer formed the creative team for an extraordinarily
unusual film. Ono, Enoki and Yamamoto obviously enjoyed the process.
In his introduction before the screening of his beautiful and enigmatic Anohito: The One, Ichiro Yamamoto said that he had shown the film three times before, and that he had not received any comments at all from his audiences. So he wanted everyone to feel no pressure; he would understand if FCCJ’s audience didn’t have any feedback for him.
The remarks were so unexpected, and his delivery so comical, that the audience giggled — but Yamamoto was not exaggerating. At least not overly.
After a long career as a self-described Shochiku “salaryman,” working on productions for such illustrious directors as Nagisa Oshima and Seijun Suzuki, and producing award-winning work by Yoji Yamada and Hou Hsiao-Hsien, Yamamoto makes his own feature debut with Anohito: The One, and “strange” is an appropriate tag for the film’s many bewitchments.
A beautiful tribute to the heyday of Japan’s studio system, it also underscores how little has changed in Japanese society in the intervening years. As critic Tony Rayns has put it, “Anohito is a unique film which offers a subtly disquieting vision of the present through the mirror of the past.”
Yamamoto reveals the many secrets hidden in plain sight in the film.
The director himself only half-jokingly describes it as “a sci-fi film produced and cast in 1944, imagining a future Japan 69 years later in 2013, where the Second World War still rages on.” Looking very much like a 1944 film, with its luminous black-and-white cinematography and its aspect ratio of 1.33:1, it nevertheless feels utterly modern in its concerns and sensibilities.
It is a seriously serious film, the outgrowth of a lifetime of cinephilia on Yamamoto’s part, and it grows ever more profound and endlessly multilayered upon a serious discussion of its attributes.
Fortunately, the FCCJ audience was in the mood for just such a discussion. But the evening was heavily punctuated with laughter, too, as questions ranged from the film’s antiwar messages and its unusual provenance, to the many octopus images, the enumerations of the number 8, the frequent appearance of shogi pieces and the reflections of water in every single shot.
The script is attributed to the famed Buraiha writer Sakunosuke Oda, and had been completed in 1944 for director Yuzo Kawashima but then lost, Yamamoto explained, until its 2012 discovery in a library in Osaka. After he’d read it and returned to Tokyo, he said, “I immediately asked my boss if we could make the film. And my boss immediately said No.” Shortly afterward, he continued, “I got an email from my department saying I had 5 days off, since I had worked in Shochiku for 20 years. I also had 5 days off for summer vacation. So I thought, if I can make the film myself with my savings of ¥20,000 a month for 20 years — that’s ¥5 million — I should. So I decided to get a producer. [a beat] It was the first time I noticed that the producer is so important.”
Enoki discusses the contributions of Shochiku's
Uzumasa Studio to the film's look and feel.
Yamamoto turned to his fellow Shochiku producer, Nozomu Enoki, because “he’s the strangest guy in Shochiku,” and enlisted the support of actor-playwright-producer-author-Charlie Chaplin specialist Hiroyuki Ono, “the strangest guy in Kyoto,” for the cast.
Enoki stressed, “Five million yen is quite a small budget for making a film, maybe 1% of our typical production budget. But I was working at Shochiku’s Kyoto studio and … with the help of the veteran crew members there, I thought we could get this made.”
The film looks remarkably sumptuous, given its pricetag — its most expensive shot, Yamamoto revealed, was a CG octopus-shaped battlefield scar on one of the characters — and evokes nostalgia for the artistry of yesteryear not only in its cinematography, but in its mise-en-scene and its many musical interludes, which may or may not be propaganda songs of the day. Enoki explained that the Kyoto Uzumasa Studio “has a long tradition of making samurai films, and we have a lot of props that we were able to use in the film. Mr. Yamamoto’s intention was to conflate the styles of Shochiku’s Ofuna Studio period and the Uzumasa Studio films, and our creative team understood that.”
Ono talked with passion but no crab bubbles — you'll have to see the film to get the significance.
On the surface, Anohito: The One tells the story of four young soldiers working menial jobs so they can raise the orphaned son of their commanding officer (“Little Commanding Officer,” they call the boy) in a forgotten town populated by the war’s leftovers: women, children, lonely old men. The women are constant targets for the local matchmaker, and are often reminded that life is more difficult for them. The soldiers seem to be speaking dialogue that they’ve heard elsewhere, such as their chant, “Cheer up and brighten up! Sprout out and grow!” After hearing unpleasant news about the war on the radio one day, they leave the boy with an aging cook, and go off to work in munitions factories, promising to be home for new year’s. The cook invites the woman next door to move in, then disappears himself, leaving a message for “The One…”
Who is “The One?” For Yamamoto, he is unequivocally the boy, given the absence of any ancestral photos in the family home and the fact that he does nothing, while all the other characters wait on him. “I doubt his father exists, and my conclusion is that the boy is deceiving people. This means that he is manipulating the whole town to go out and support the war.”
Stepping out from behind the scenes for well-deserved applause.
For Ono, who brought in key cast members from his Tottemo Benri theatrical company and enacted a role himself, there are other possible interpretations of Oda’s script. “At first glance, it may seem like a warmongering film — let’s get back into the military factories — but we get a strange feeling when reading it, as if Mr. Oda was trying to hide an antiwar message.” He went on to explain that the boy’s name is “Kamiya Shoichi: ‘Kami’ is, of course, ‘god’ in Japan. ‘Sho’ is for ‘Showa,’ the name of the era of Emperor Hirohito, and ‘ichi’ means ‘the first.’ So perhaps the boy is a metaphor for Emperor Hirohito. It’s one of the interpretations, anyway. We don’t know what Mr. Oda intended.”
As Enoki wrote in the film’s production notes: “There is a strange ineffable force, almost like atmospheric pressure, that controls these people. We wanted to investigate ‘The One’ who was somehow applying this pressure, for surely we still feel the overbearing presence of ‘The One’ to this very day.”
The film is making its international debut in the Youth on the March competition at the 22nd Minsk International Film Festival, Listapad, to be held in the capital of Belarus during the first week of November. The festival is renowned for its cinema-as-art bent, but audiences are in for a rare treat with this One.
— Photos by Koichi Mori and FCCJ.
©2015 Yamamoto Konchu
SPECIAL SCREENING of Kakekomi and
Q&A in collaboration with TIFF
October 9, 2015
Q&A guests: Director Masato Harada, legendary actress Kirin Kiki,
Japan Now advisor Kohei Ando and TIFF Director General Yasushi Shiina
Ando, Harada and Shiina listen as Kiki declares she just "tagged along with the director" for the event.
Anyone who has attended FCCJ’s screenings over the past eight years knows that our emphasis has been on introducing Japanese films and filmmakers to foreign audiences through the Tokyo-based journalists, critics, festival programmers and cinephiles who join us for our events. We were thus extremely gratified to hear that the 28th Tokyo International Film Festival (TIFF), running from October 22 - 31 in Roppongi and Shinjuku, would debut not one, but two new sections devoted to Japanese film: Japan Now and Japanese Classics.
When the full lineup was announced on September 29, the news was even better: three Japanese titles had made it into the main Competition section, and there were to be over 50 more English-subtitled films by a range of Japanese directors at the festival, from the likes of Akira Kurosawa and Kon Ichikawa (Classics) to Hirokazu Kore-eda and Sion Sono (Now) to Kohei Oguri and Koji Fukada (Competition), along with a 10-title tribute to Ken Takakura,
Perhaps most exciting of all, TIFF announced that it had selected Masato Harada as its inaugural Director in Focus, and unveiled what amounts to the first mini-retrospective of his work. Over a 30-year career, Harada has created a range of compelling films that are both social criticisms and world-class entertainments, and he is one of a small handful of Japanese who are comfortable directing overseas, as well.
Ando and Harada share a laugh; Harada listens to Kiki describe his skill.
The Film Committee has had the honor of screening three of Harada’s recent films, and we were thrilled to be able to bring his early summer blockbuster, Kakekomi, to the club for an English-subbed encore.
Before the screening, we welcomed TIFF Director General Yasushi Shiina, TIFF Programming Advisor Kohei Ando, Harada and legendary actress Kirin Kiki — who won the Japan Academy Award for her titular role in Harada’s 2012 Chronicle of My Mother and also stars in Kakekomi — to discuss the festival’s new emphasis on local cinema.
Noting that there are over 500 Japanese films released every year in Japan, Shiina said, “This is my third year as the director of TIFF, and I’ve been wondering how best to introduce Japanese films and filmmakers to the world. We wanted to create a selection that would allow visitors to TIFF to see the full spectrum of films, to see what’s happening in the industry right now. We also wanted to focus on getting more recognition for Japanese filmmakers in overseas markets, and that’s why we created the two new sections, Japan Now and Japanese Classics. We look forward to welcoming audiences from as many countries as possible.”
Kohei Ando, a filmmaker, producer and popular figure on the international film scene, was selected as the first programming advisor for the Japan Now section. He noted: “People often say that if you see three films from one country, you can learn a lot about that country. The concept of Japan Now is to help you learn more about Japan. We narrowed our selection to 11 films, one of which is a family story from maestro Yoji Yamada and another of which is from Hirokazu Kore-eda, also about a contemporary family. If you watch just these two films, you’ll have an understanding of the diversity of Japanese families today.”
“We decided to focus on Mr. Harada as the first Director in Focus,” Ando continued, “because we believe he deserves increased international recognition as a master filmmaker, and we also hope Japanese audiences will be reminded of his extraordinary talent.”
Harada and Kiki have collaborated on only two films; here's hoping they double that number.
Harada said, “I’m not sure whether I belong to Japan Now or Japanese Classics (much laughter), but I’m honored to be selected and to show these five films. The last time I had a film shown at TIFF was in the Competition section 22 years ago, with Painted Desert. I’m very happy to bring my work to a festival in my own country, and I look forward to meeting audience members from all over the world.”
After joking that she had just “tagged along with Mr. Harada,” Kirin Kiki got more serious. “Mr. Harada is so enthusiastic about the works of other directors,” she said, “he’s always mentioning certain scenes in films by Kurosawa, Ozu and Kihachi Okamoto with such passion and enthusiasm, it’s one of his charms as a director. I see him trying to be an even better filmmaker than these masters, sometimes succeeding, sometimes not. But he’s very, very skilled, and… yahari, umai! (he’s wonderful!).”
The Director in Focus retrospective will feature English-subtitled screenings of Harada’s Kamikaze Taxi (1994), Climber’s High (2008), Chronicle of My Mother (2012), Kakekomi (2015) and The Emperor in August (2015). How did Ando and Harada arrive at this selection? “It’s simple,” Harada explained. “These five films were all rejected by the Cannes Film Festival.”
Ando interjected, “It’s really Cannes’ loss — we beat them this year by bringing these five films to TIFF.”
Later in the evening, following the screening of Kakekomi, Harada’s first-ever jidaigeki period piece, the director and his star appeared for a Q&A session that was one of the most relaxed and intimate we have ever hosted. Speaking in English throughout (except when making remarks directly to Kiki), Harada fielded questions on a range of subjects, beginning with the reception of his films overseas.
He noted that audiences in Canada and Malaysia had laughed wildly over Kakekomi’s honey enema scene, and applauded when one of the antagonists is killed, a real difference from the more reserved Japanese audiences. He then revealed that he thinks not only about how his films will be received internationally while he’s directing them, but that he even considers how certain lines of dialogue will play in the subtitles. For Kakekomi, he changed character names from the original source novel so they would be more easily rendered in the subtitles.
Kiki stayed on for the Q&A after the screening, and kept everyone in stitches, including
interpreter Mihoko Imai.
Kiki mentioned that she and Harada had argued rather extensively about certain casting decisions, but that she feels “completely comfortable” working with him, and was pleased that he could quickly make decisions about suggestions she would make. Harada countered, “It’s true that everyone was afraid of Kiki-san on set, but with her, there’s never a dull moment. Even though she complained about the casting, she can really create an energized atmosphere. I highly respect when she makes suggestions. She can come up with fabulous creative ideas, although I’m not sure she would make a good casting director.”
Both director and star continued to affectionately thrust and parry. “I think he’s a masterful, masterful director,” said Kiki. “But I can’t help complaining a bit. I don’t want to compare his work with other auteurs, but it is definitely worthy of more international praise. However, I think he should be more relentless in his perfection of small details. And he needs to put more of himself into his films. When he’s finally able to do that, I think we’ll see something different. He’s a world-class director now, but if he makes an effort to do what I’m suggesting, he’ll be even greater.”
Harada’s 23 films over the past 30 years have addressed a wide range of subjects — what he terms “Hawksian relationship dramas” in an “old-school style”— that are perhaps not as embraceable by younger generations as the more gonzo style of Japanese genre directors who have found overseas followings. But his work is ripe for rediscovery.
And fortunately, we can expect it to continue. Harada hinted that another collaboration with Kirin Kiki is sure to occur: “I have something in mind, which I can’t announce yet. It’s a historical piece and the character I have in mind for Kiki-san is someone that no one would ever imagine...”
— Photos by Koichi Mori and FCCJ.
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