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THE LEGEND OF THE STARDUST BROTHERS


THE LEGEND OF THE STARDUST BROTHERS:
Director’s Cut
(Hoshikuzu Kyodai no Densetsu)


December 13, 2018
Q&A guest: Director Macoto Tezka


S StardustMance Thompson-8
Makoto Tezka charmed the audience instantly with a story of gratitude for the foreign press.  ©Mance Thompson

Macoto Tezka’s business card identifies him, simply and elegantly, as “Visualist.”

As the FCCJ audience discovered, he is also many other things — prominent among them, “Master Storyteller.”

Tezka was at the club for a Q&A session following a special screening of his 1985 directorial debut, The Legend of the Stardust Brothers, released in Japan (and sadly, nowhere else), 33 years ago. The film has now been impressively remastered and given English subtitles by UK distributor Third Window Films, and the Film Committee was hosting the first-ever Japan screening of the English-subbed director’s cut. (In fact, FCCJ’s audience was only the fourth in the world to see the new version, following its October premiere at the Sitges Film Festival in Spain, and showings at the Hawaii International Film Festival and the Santa Barbara Film Festival.)

Stardust1
The film's star-crossed siblings. ©Kinema Junpo DD

“I was just 23 years old when I made The Legend of the Stardust Brothers,” Tezka explained. “It was my commercial film debut and while it seems I was able to please audiences, I did not please the critics. Many of them said the budget was too low, the acting was crappy and it was just a cheap film. But then I met a foreign journalist who had come to Japan to view work by emerging filmmakers.

“Because I’d been so harshly criticized by Japanese critics, I found myself trying to explain that I was still young, I hadn’t mastered the technique, I didn’t have a big budget, my cast were all novices. She replied, ‘Yes, I can see that. But even the most celebrated filmmaker has to start somewhere. It’s not about the budget or the technique, it’s about what you want to express to the audience. That was very clear to me — I got it, I think it’s good and I recognize [your talent].’

“Her words saved me, and gave me the courage to continue making films” Tezka concluded. “So I’ve always been really grateful for foreign journalists."

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 ©Mance Thompson

It’s hard to imagine Tezka not rallying, even without the critical approval. Born the son of legendary manga artist Osamu Tezuka, he had already made a number of experimental 8mm films as a student, and earned praise from the likes of renowned director Nagisa Oshima. Then he met musician, composer, producer, critic and radio-TV personality Haruo Chikada, who had written a soundtrack to a nonexistent movie called The Legend of the Stardust Brothers.

“The film started with the music,” Tezka recalled. “Mr. Chikada brought the album to me to make a film out of. I wrote the screenplay to match all the songs, and he added more songs as we made the film. He’s a very talented composer, and it was a real collaboration between us.”

Stardust 5
Singing star Kiyohiko Ozaki plays the brothers' manager. ©Kinema Junpo DD

A zany pop musical with minimal dialogue, The Stardust Brothers follows a familiar storyline about the youthful thirst for fame and the exploitation of talent, as “lucky, sexy twins” Shingo (Shingo Kubota) and Kan (Kan Takagi) get their first break via shady Atomic Promotion President Minami (Kiyohiko Ozaki). They also get their first fan club president, Marimo (Kyoko Togawa), their first hit record and their first magazine covers. But it isn’t long before they realize that “Once you become No. 1, you sing the same song again and again forever.”

Stardust 7Kinema Junpo DD
Shingo, Kan and Fan Club President Marimo. ©Kinema Junpo DD

Soon, the band has personal problems and their brand image is tarnished. Minami, meanwhile, is seduced by a briefcase of cash to make a star of Kaoru (the Bowie-esque Issay), the son of a very powerful figure whose identity, when revealed, feels like a strikingly contemporary reference.

A time capsule of inspirations, the film draws from the likes of A Hard Day’s Night, The Night of the Living Dead, The Rocky Horror Picture Show and Phantom of the Paradise (Tezka dedicates the film to its protagonist, Winslow Leach), with dashes of animation, the Village People, Klaus Nomi, George Michael (ca. Wham!) and Las Vegas revues thrown in.

FR StardustMance Thompson-3   FR StardustMance Thompson-4
 ©Mance Thompson

Endlessly innocent and kinetic in the way of vintage music videos, as well as hugely enjoyable, there are echoes, homages and pastiches from pop history, and juicy roles for some of Japan’s most interesting creators of the time, including musicians Kiyohiko Ozaki, Issay, Sunplaza Nakano and Hiroshi Takano; and cameos by mangaka Monkey Punch (“Lupin the 3rd”), Shinji Nagashima (“Hana Ichi Monme”), Yosuke Takahashi (“Mugen Shinsi”); and even emerging film director Kiyoshi Kurosawa (Tokyo Sonata).

Tezka was asked how he was able to attract talent like singer-actor Ozaki, who was then a household name. “Being young means being foolish,” he laughed. “When you’re young, you don’t know what real fear is. So we boldly approached all these people. Mr. Chikada was already quite famous and established as a musician, and he’d appeared on TV many times. So I’m sure Mr. Ozaki knew about him. Also, Mr. Oshima had talked about my films to many distribution companies, and I’m quite sure Mr. Ozaki had heard about those, too. But unexpectedly, when he showed up on set, he told me, ‘I’m not an actor. I don't know how to act.’ Of course he’d appeared in numerous films by that time, but he still thought of himself only as a singer.”

Stardust 1
A dash of Busby Berkeley.  ©Kinema Junpo DD

The director then offered one of the juiciest casting antidotes an FCCJ audience has ever heard. (SPOILER ALERT) “There’s a scene in which an actor appears in Hitler makeup,” he began. “We had first approached Toshiro Mifune to play the part. He agreed to do it, but he also said that if we used 1 second of footage, it would cost ¥1 million. We didn’t have the money in the budget, so we had to give up on that idea. We learned the hard way that if you want big names, it will cost big money.

“So we adopted a different approach and decided to go after non-actors. Our next idea was Akira Kurosawa. But he said he couldn’t make it, because he was in the middle of directing Ran. So we went to Nagisa Oshima. He was also in the middle of a shoot. So we tried yet another approach: how about a big artist? We went to Taro Okamoto, famous for his Tower of the Sun. He actually said okay, and we were elated, imagining the chair swiveling around and revealing it was Taro Okamoto. But after we’d told him details of the scene he would appear in, he said, ‘I don’t like politicians and I do not want to play one.’”

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 ©Mance Thompson

A critic wondered whether Kentucky Fried Movie had been one of Tezka’s inspirations. “When we were working on the film, Mr. Chikada and I discussed a lot of rock musicals and cult movies,” the director responded. “But it was such a simple story, about these two boys and their stairway to stardom. What I had in mind were films by Richard Lester, like A Hard Day’s Night, and Mel Brooks’ Young Frankenstein, and there are also some Monty Python references.”

Asked about the intriguing animated interlude in the film, Tezka said, “I wanted to include that fantastical sequence, that hallucination in which the protagonist turns into an animated figure. I ultimately asked Yosuke Takahashi, a young manga creator back then, because I was a big fan of his work. I could have gone to my father’s company, but it would have cost us a lot of money that we simply didn't have.”

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 ©Mance Thompson

In 2016, marking the 30th anniversary of The Legend of the Stardust Brothers, Tezka created a sequel/remake to the original film. He recalled, “It all started with a discussion about doing a live concert to commemorate the anniversary. One of the original musicians said he would bring in sponsors, and suggested that we make a new film. I told him, ‘If you can get the funding, I’ll make the film.’

“After we went ahead with the production, the musician came back and told me the sponsors had pulled out. Normally, in a case like that, you would just pull the plug. But we’d already assembled the cast and crew, and I’d always had this sense that I hadn’t done as well as I could have with the first one. So I wanted to give it another go.

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 ©Mance Thompson

“I submitted the film you saw tonight to the very first Tokyo International Film Festival in 1985, and it was turned down. The Brand New Legend of the Stardust Brothers, however, was screened in the 2016 Tokyo International Film Festival, so I’m quite satisfied with how things turned out.”

Following further international festival play, Macoto Tezka’s original The Legend of the Stardust Brothers is set to be released on BD/DVD in March 2019.

Stardust Brothers Kinema Junpo DD
©Kinema Junpo DD

Selected Media Exposure


PIETA IN THE TOILET


May 27, 2015
Q&A guests: Director Daishi Matsunaga, stars Yojiro Noda and Hana Sugisaki


three on stage
The talented trio faces the press.

For a film programmer, there is nothing quite so satisfying as being able to contribute, however insignificantly, to the launch of an independent film that deserves to be seen and celebrated far more widely than its modest budget may allow. Such was the case with FCCJ’s screening of Pietà in the Toilet, the feature-fiction debut of award-winning documentary director Daishi Matsunaga (Pyuupiru, Gospel).

Inspired by the final story idea of Japan’s great God of Comics, Osamu Tezuka (Astro Boy, Kimba the White Lion), who jotted the outlines of Pietà down on his last diary page before dying of stomach cancer in 1989, Matsunaga has created a big-screen treatment that is by turns distressing, blackly humorous and uplifting — a poignant consideration of life under the looming hand of death. Nearly as impressively, he has directed a handful of major movie stars (Lily Franky, Rie Miyazawa, Shinobu Otake) with the assurance of a seasoned pro, and guided two unknowns in the lead roles who achieve an onscreen chemistry that is a real rarity.

  hana smiles  noda speaks  daishi speaks
Hana Sugisaki, Yojiro Noda and Daishi Matsunaga discuss the close collaboration that went into making the movie.

Making his acting debut, real-life rock star Yojiro Noda (Radwimps) is perfectly cast as a lost young man who is rescued from his ennui and emptiness by Hana Sugisaki, a teen actress whose slim TV and film credits could not possibly predict the sheer bravado of her revelatory performance in Pietà. Just 16 years old during filming, Sugisaki delivers a truly star-making turn.

In Matsunaga’s adaptation of Tezuka’s story fragment, Noda plays young cancer patient Hiroshi Sonoda, who receives a fatal cancer diagnosis and decides to die without a fight. Once a promising art student, he’d quit painting after an unhappy love affair, and he’s been washing windows ever since. But after fainting on the job, he finds himself in the hospital, where he meets two people who will shake him out of his stupor: Toru Yokota (Franky), a long-term cancer patient who gets his kicks from photographing nurses and nubile visitors; and Mai (Sugisaki), a schoolgirl with serious attitude and a death wish. Hiroshi, weakened by chemotherapy and growing superstitious in the way of many victims of hopeless situations, begins to think he can survive if only he makes someone happy — and Mai, precocious, tortured and desperately lonely, is his willing target. As a chaste love affair blooms, Hiroshi is inspired to pick up his brush. With Yokota’s help, he begins painting the pietà on the walls of his toilet, a final act of defiance and redemption.

daishiMatsunaga's facility with actors might be a result of his own experiences:
he began his film career as one of the Waterboys.

When queried about how he managed to snag such a big-name cast, as well as how he found his leads, Matsunaga explained that he and his producers (Shinji Ogawa of BridgeHead and Morio Amagi of CineBazar) had wanted someone who was a creative artist for the character of Hiroshi. Eventually, they decided to reach out to singers, and Matsunaga felt an instant rapport with Noda. “As I listened to his lyrics and songs… I found him to be very sexy and intriguing, and his songs expressed something similar to the worldview that I hoped to capture.” Conveniently, Noda also wrote and performed the theme song for the film.

hana speakHana, a rising star, skipped her school trip to be at the FCCJ screening.

As for the “equally important” role of Mai, Matsunaga “held auditions for a full year, and from the beginning, Hana Sugisaki was very impressive. I narrowed it down to 5 -10 actresses, and asked Yojiro to come in and read against them. When I saw how he and Hana played off each other, and changed each other, I was convinced to cast her.”

Sugisaki surprised the FCCJ audience by being as demure and soft-spoken during the Q&A session as her character is bold and outspoken in the film. She discussed the audition and rehearsal processes, the difficulty of “capturing Mai,” and the frustrating process of building confidence. “I think I was able to do this because I trusted [the director and my costar],” she said. After a particularly lengthy series of takes one day, “Matsunaga-san came to me and said ‘You finally captured Mai,’ and from then on, I was able to interact with Yojiro as if he was Hiroshi and I was Mai. The character stayed inside me for a full month after filming was done.”

noda laughsYojiro rocks the audience with his superb English,

Noda also surprised the FCCJ audience — and the sizable contingent of Japanese press, most of whom were there because of the Radwimps singer-songwriter’s enormous popularity — by speaking in fluent American English: “Thank you for inviting us here tonight, we’re very pleased to be here. It’s been 10 years since Daishi Matsunaga [heard] this story, and it’s been a long way here. This was my very first acting experience, and it was awesome to work with these incredible talents. I was very honored. I hope you enjoyed the film, and if you did, please help spread the Pietà world to other audiences. Thank you.” (Noda lived in the US for 4 years as a youth, and says he maintains his English through producing work with non-Japanese singers and touring abroad with his band.)

three laugh 
The photo call turns a bit giggly.

Fans of Osamu Tezuka, many of whom have waited 25 years to see his final story come to life, and fans of exceptional new acting and filmmaking talent: Pietà in the Toilet is for you. You’ll be seeing a lot more of Daishi Matsunaga, Yojiro Noda and Hana Sugisaki in the future; this is where it all began.

  Photos by FCCJ.

Pieta POSTER
©2015 “Pieta in the Toilet” Film Partners

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